Feitian is a major theme of the Tang Dynasty jade. The image of Feitian is representative of many fine works of art in Dunhuang Mogao Grottoes. Feitian’s gestures in the murals are mostly floating, holding floral instruments and dancing in the wind. Despite the changes in the image of different periods, the overall performance of Buddhism is peaceful and peaceful.
At the beginning of the Sixteen Kingdoms period, the Mogao Grottoes coexisted with the native style of the Central Plains, mainly in the Western Region. With red as the base color, the lines are rough and wild, the colors are bold and thick, and they are simple and original. The characters are only slightly human, the body structure is not aesthetic, the body is small and simple, and the facial expression is single.
In the Northern Wei Dynasty, there has been a clear middle ground. The contours of the face are more rounded, the facial features are well-proportioned, and the eyebrows are clear. The lines are more mature and more complex, giving the whole a feeling of authenticity and kindness. The depiction has been developed in a realistic way.
The Western Wei Dynasty split into two styles. The "Western-style" took over the shape of the Northern Wei Dynasty. The character of the "Central Plains" refers to the "Xiu Gu Qing Xiang" standard of the Wei and Jin Dynasties, and it has been transformed into a delicate and thin body. A female figure with a smile. The bun also changed from a single bundle to a double scorpion, completely forgiving the original restraint.
The Northern Zhou Dynasty returned to the Western-style flying style.
The Northern War was in chaos, the people were not living, and they were pinned on the Dharma. As a foreign teacher, Buddhism reintegrates with the Central Plains culture and the color is relatively fresh.
Sui and Tang Dynasties made innovations on "Flying". In addition to women, they also added a bald and sultry image. They are very lively, giving people a sense of joy, progress, and freedom. They have also changed from the original simplicity to the graceful and luxurious. . The face is called non-male and non-female, both charitable and strong.
In the late Tang Dynasty, due to political reasons, the character's gesture lost a cheerful movement. The costumes became fresh and elegant, and the human body became thinner and more peaceful. It showed solemnity and solemnity, and revealed grief.
After the Sui and Tang Dynasties, Dunhuang people were thinking, they opposed war and longed to return to their past lives. At this time, the image of "Flying" has lost its simplicity and deep feeling, and it seems secular, emotional, and overall lack of anger.
In the Yuan Dynasty, the style of the Tang Dynasty was inherited, and there was basically no developmental change. (Before the Song Dynasty, most of the re-construction of the previous mural paintings, no progress. And the Bodhisattva's more distressed image - is probably the reason for the opposition to Buddhism during the Northern Song Dynasty.)
The change in the image of the flying murals is undoubtedly an important evidence reflecting the social politics, economy and culture at that time. The culture between India, Greece and the western minority and the Central Plains has been colliding and blending, and finally formed a new culture that most people agree with.
The ancient ancestors carved caves on the walls, and sacrificed the eternal gods and gods for their own beliefs. They have been dreaming for thousands of years, condensing the millennium of rhythm, flowers and the fragrance of Jiamu on the stone wall - with the beautiful, flowing brushstrokes as seals, keeping the pace of time.
Should we "change" the image of the sky? I think maybe it is necessary.
Waiting for this dream to come true, what day is it?
Recalling the ancient paintings that step on the tiles in the cave, every brick and stone seems to flow. Some kind of arrogance rises in the heart and gathers into a force that makes people look up at the stars.
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