5 thoughts on “What is the logo of Dunhuang murals?”
Geneva
It's flying.
Fita is painted in the tomb murals, which symbolizes the soul of the owner of the tomb. After the introduction of Buddhism into China, it was integrated with Taoism in China. During the Wei, Jin and Northern and Southern Dynasties, which was short long after Buddhism, the flying sky in the murals was also called Feixian, which was not distinguished by Feitian and Feixian. With the in -depth development of Buddhism in China, although Buddhist Feitian and Taoist Feixian blended with each other, but in terms of names, only the air flying gods in the murals of Buddhist caves into Feitian. Dunhuang Feitian is the flying god painted in the Dunhuang Grottoes, and later became a special term for Dunhuang mural art. It Dunhuang Feitian said from the artistic image that it is not a cultural artistic image, but a complex of multiple culture. Although the hometown of Feitian was in India, Dunhuang Feitian was jointly bred by Indian culture, Western region culture, and Central Plains culture. It is the long -term exchanges and incidents of the Indian Buddhist heaven and Chinese Taoist feathers, the Western Regions Feitian, and the Central Plains Feitian, and have the characteristics of Chinese cultural characteristics. It is a non -long -winged pound without feathers, no round light, and relying on colorful clouds with the help of color clouds. It is mainly flying in the sky with floating dresses and flying ribbons. Dunhuang Feitian can be said to be the most genius creation of Chinese artists and a miracle in the history of world art. The flying sky in Dunhuang murals, the creation of Huai Caves at the same time. Since the sixteenth countries, it has passed through ten dynasties and lasted more than a thousand years. Until the end of the Yuan Dynasty, it disappeared with the construction of the Dunhuang Grottoes. In the long history of these thousands of years, due to the change of dynasties, the transfer of the regime, the economic development and prosperity of the economy, and the frequent exchanges of Chinese and Western culture, the artistic image, attitude and artistic conception, style and interest of Feitian are all in Continuous changes, different times and different artists have left us with different styles of flying. Dunhuang Feitian for more than a thousand years has formed a distinctive history of evolution and development. The history of its evolution is roughly consistent with the history of the development of the arts in Dunhuang, divided into four stages. has been from the north of the Sixteen Kingdoms to the Northern Wei Dynasty. For more than 170 years, Dunhuang Feitian was deeply influenced by the Flying of India and the Western Regions during this period. But the characteristics of the two dynasties in this period were slightly different. The flying sky was painted at the top of the cave on the top of the cave. During the decoration of the cave's top algae well, the upper edge of the Buddhist nats and the main body of the story of the story were painted. Its shape and artistic characteristics are: round light, elliptical face, straight nose, big eyes, large ears, earrings rings, round buns, or wearing or vines, or Indian five jewelry crowns. The upper body is half naked, the waist is wrapped in long skirts, and the shoulder is covered with a large towel. Due to the discoloration of blooming techniques, it becomes a white nose bridge, white -eyed beads, and the flying sky in the western turtlezi. look alike. The most northern Wei -style flying sky is the two flying sky above the story of the "Bada Kings" painting on the north wall of Cave 254 and the two flying sky above the rear of the rear of the north wall of Cave 260. The prominent features of these four bodies are: round light, wearing Indian five jewelry crowns, long face shape, because of color change, becoming white nose bridge, white circles, small -character faces. The upper body is half -naked, the legs are long, and the "U" shape of the big opening. The dresses were floating, the towels were flying, flying across the air, and the smallpoints were flying around. Although the flesh and ribbon of Flying have changed color, the slopping and lines of the skirt ribbon are very clear. The flying sky is dynamic and powerful, and the posture is free. has been from the Western Wei Dynasty to the Sui Dynasty for more than 80 years. Dunhuang Feitian during this period is in the Buddhist heaven and Taoist feathers. The stage of communicating with the Central Plains Feixian in the western region, integration of each other, and innovation and change is the flying sky of China and the West. During the Western Wei Dynasty of the Mogao Grottoes, the painting position was generally the same as the Northern Wei Dynasty. It was only two different styles of flying in the Western Wei Dynasty. The Western -style Flying inherits the shape and painting style of Feitian of the Northern Wei Dynasty. The biggest changes are: as the dry mother -in -law of the incense god, Sanhua flying the sky and picked up various instruments flying in the air; as a song and dance god, the Tiangong trick, the sky was rushed out of the sky, and also flew out of the sky in the sky. Essence The two gods were integrated into one, and it became a subsequent flying sky, also called Sanhua Feitian and Glutter Flying. His representative works such as the four -body trick Flying in the west of the West Buddha of Cave 249 The Central Plains Flying is the period during the history of Wang Rong (Gu Dunhuang). A new type of flying in the Mogao Grottoes. This kind of flying is a flying sky with the fusion of Chinese Taoist Fei Xian and Hindu Flying: Chinese Taoist Fei Xian lost its feathers, bare upper body, neck decoration necklace, waist tied long skirts, shoulder wraps; India's Buddhism lost his head on his head The round light and the Indian treasure crown, the buns were bundled and put on the Taoist crown. The character's publicity is the "showcase" shape of the Central Plains, with a long figure, a thin neck, a wide forehead, a straight nose, a thin eyebrow, a thin eyebrow, a slightly smile on the corner of the mouth. Its most representative is the twelve -body flying sky on the top of the south wall of Cave 282.这十二身飞天，头束双髻，上体裸露，腰系长裙，肩披彩带，身材修长，成大开口横弓字形，逆风飞翔，分别演奏腰鼓、拍板、长笛、横箫、芦笙、 Pipa, Ruan Xian, 乐 乐. Four weeks of flowers rotate, clouds fluttering, setting off the flying sky and flying to the wind, as light as a swallow, taking pictures of each other, free and joyful, roaming space. The northern Zhou Dynasty is a minority regime established by the Xianbei people in the northwest. Although the period of rule is short, many caves have been built in Mogao Grottoes. The ruler of the Xianbei tribes believes in Buddhism and is in the western region. Therefore, the Western -style flying sky appears again. This new flying sky has the style of flying sky such as Guizi, Kizil, etc., round, strong, and legs. Short, rounded head, wearing Indian treasure crown, naked upper body, breast full of breasts, waist tied long skirts, shoulders around the towel strap. The most prominent is the face and body of the face and the body. Due to discoloration, five whites, white nose bridges, white orbits, and white chin. The flying posture became open "U", with a short body and simple dynamics, and almost returned to the characteristic characteristics of the painting style of flying in the Beiliang period of Mogao Grottoes. But the image was much richer than the Beiliang period, and there were many tricks. The most northern Zhou -style flying sky is the flying sky in Cave 290 and Cave 428. Flying in these two caves. Strong body, round face, round head, wearing Indian treasure crown, facial features have five white characteristics, naked upper body, long waist tie skirts, shoulders around the towel, the body is stained with thick and uneven, and now due to the color change and the cord of the cord, the cord of the cord of the breast is rounded and the umbilical cord More prominent. The trick in the 428th cave is rich in shape, or the shape is rich, or the pipa is played, or the bounce, or blowing the flute, or hitting the waist drums, vivid image and beautiful posture. Especially the flying sky on the west side of the south wall, holding a whistle with both hands, kicking the purple gold crown in both feet, flying from the body, the four weeks of ceiling falls, and its flying posture, like a light swallow dive down. The Sui Dynasty was the era with the most flying days in Mogao Grottoes, and it was also the era with the most types of flying sky and the most abundant gesture. In addition to the position of the Sui Dynasty in the Northern Dynasties, Feitian was mainly painted around the top of the top of the cave, the upper layers of the cave, and the inside and outside the west wall Buddha. Most of the group appeared. Same. Regional characteristics are different. In the Sui Dynasty cave, there are both Western -style flying sky and Central Plains Flying, and it is also a combination of Chinese and Western. The face shape is different, the face shape is rich and round, and there are beautiful types; the figure is robust and long. However, most of them are slender, with moderate proportion, soft waist, and generous. The clothing crown and clothing are different, some are half naked on the upper body, and there are Zhang Zhi; some wearing sleeveless skirts, as well as wide -sleeved long skirts; some wearing treasure crowns, buns, and bald monks Flying sky. The flying posture is different, some fly, some are flying, some are flying smoothly, some are flying against the wind, there are single flying, and there are group flying, but the posture of the flight is no longer in the "U" type. The body stretches freely. Generally speaking, Feitian of the Sui Dynasty was in a period of communication, integration, exploration, and innovation. The general trend is to develop in the direction of Sinicization, laying the foundation for the complete Sinicization of the Tang Dynasty. The most beautiful flying sky is the flying sky of Cave 427 and Cave 404. Cave 427 is one of the large caves in the Sui Dynasty. It is also the cave with the most flying sky in the Sui Dynasty. The four walls on the four walls of this cave are flying around the Cave on the wall of the Temple Palace, with a total of 108 body. These 108 flying sky, all wearing treasure crowns, half -naked upper body, naked decoration, handbriet, long waist, long skirts, shoulders around the ribbon, mostly the legacy of Flying in the Western Regions and the heritage of clothing. Although the skin tone has become dark, the image is still very clear. Flying around the cave. Its attitude, light body, fluttering long skirt, flying ribbons, and rolling wind. Around the sky, the flowing clouds fluttered, the flowers were flying, the dynamic was strong, and full of anger. Cave 404 is a medium -sized cave in the middle and late Sui Dynasty. The four walls of the cave are drawn along the wall of the Tiangong Palace, and the wall is flying around the cave for a week. Like the flying sky in Cave 427, there are different attitudes. Some are holding lotus flowers, some hands, and some of them are scattered, and some are holding various instruments.但在首饰服饰上有了很大的变化：头无圆光，不戴宝冠，有的束桃型仙人髻，有的束双环仙人髻，有的束仙童髻，脸为蛋形，眉清目Rice, slender figure, soft dresses, and long towel bandwidth. Clothing, face, and body are like flying in the early Tang Dynasty.
Dunhuang Feitian is the business card of Mogao Grottoes in Dunhuang and the sign of Dunhuang art. As long as you see a beautiful flying sky, people will think of the art of Mogao Grottoes in Dunhuang.
It's flying.
Fita is painted in the tomb murals, which symbolizes the soul of the owner of the tomb. After the introduction of Buddhism into China, it was integrated with Taoism in China. During the Wei, Jin and Northern and Southern Dynasties, which was short long after Buddhism, the flying sky in the murals was also called Feixian, which was not distinguished by Feitian and Feixian. With the in -depth development of Buddhism in China, although Buddhist Feitian and Taoist Feixian blended with each other, but in terms of names, only the air flying gods in the murals of Buddhist caves into Feitian. Dunhuang Feitian is the flying god painted in the Dunhuang Grottoes, and later became a special term for Dunhuang mural art.
It Dunhuang Feitian said from the artistic image that it is not a cultural artistic image, but a complex of multiple culture. Although the hometown of Feitian was in India, Dunhuang Feitian was jointly bred by Indian culture, Western region culture, and Central Plains culture. It is the long -term exchanges and incidents of the Indian Buddhist heaven and Chinese Taoist feathers, the Western Regions Feitian, and the Central Plains Feitian, and have the characteristics of Chinese cultural characteristics. It is a non -long -winged pound without feathers, no round light, and relying on colorful clouds with the help of color clouds. It is mainly flying in the sky with floating dresses and flying ribbons. Dunhuang Feitian can be said to be the most genius creation of Chinese artists and a miracle in the history of world art.
The flying sky in Dunhuang murals, the creation of Huai Caves at the same time. Since the sixteenth countries, it has passed through ten dynasties and lasted more than a thousand years. Until the end of the Yuan Dynasty, it disappeared with the construction of the Dunhuang Grottoes. In the long history of these thousands of years, due to the change of dynasties, the transfer of the regime, the economic development and prosperity of the economy, and the frequent exchanges of Chinese and Western culture, the artistic image, attitude and artistic conception, style and interest of Feitian are all in Continuous changes, different times and different artists have left us with different styles of flying. Dunhuang Feitian for more than a thousand years has formed a distinctive history of evolution and development. The history of its evolution is roughly consistent with the history of the development of the arts in Dunhuang, divided into four stages.
has been from the north of the Sixteen Kingdoms to the Northern Wei Dynasty. For more than 170 years, Dunhuang Feitian was deeply influenced by the Flying of India and the Western Regions during this period. But the characteristics of the two dynasties in this period were slightly different. The flying sky was painted at the top of the cave on the top of the cave. During the decoration of the cave's top algae well, the upper edge of the Buddhist nats and the main body of the story of the story were painted. Its shape and artistic characteristics are: round light, elliptical face, straight nose, big eyes, large ears, earrings rings, round buns, or wearing or vines, or Indian five jewelry crowns. The upper body is half naked, the waist is wrapped in long skirts, and the shoulder is covered with a large towel. Due to the discoloration of blooming techniques, it becomes a white nose bridge, white -eyed beads, and the flying sky in the western turtlezi. look alike.
The most northern Wei -style flying sky is the two flying sky above the story of the "Bada Kings" painting on the north wall of Cave 254 and the two flying sky above the rear of the rear of the north wall of Cave 260. The prominent features of these four bodies are: round light, wearing Indian five jewelry crowns, long face shape, because of color change, becoming white nose bridge, white circles, small -character faces. The upper body is half -naked, the legs are long, and the "U" shape of the big opening. The dresses were floating, the towels were flying, flying across the air, and the smallpoints were flying around. Although the flesh and ribbon of Flying have changed color, the slopping and lines of the skirt ribbon are very clear. The flying sky is dynamic and powerful, and the posture is free.
has been from the Western Wei Dynasty to the Sui Dynasty for more than 80 years. Dunhuang Feitian during this period is in the Buddhist heaven and Taoist feathers. The stage of communicating with the Central Plains Feixian in the western region, integration of each other, and innovation and change is the flying sky of China and the West. During the Western Wei Dynasty of the Mogao Grottoes, the painting position was generally the same as the Northern Wei Dynasty. It was only two different styles of flying in the Western Wei Dynasty. The Western -style Flying inherits the shape and painting style of Feitian of the Northern Wei Dynasty. The biggest changes are: as the dry mother -in -law of the incense god, Sanhua flying the sky and picked up various instruments flying in the air; as a song and dance god, the Tiangong trick, the sky was rushed out of the sky, and also flew out of the sky in the sky. Essence The two gods were integrated into one, and it became a subsequent flying sky, also called Sanhua Feitian and Glutter Flying. His representative works such as the four -body trick Flying in the west of the West Buddha of Cave 249
The Central Plains Flying is the period during the history of Wang Rong (Gu Dunhuang). A new type of flying in the Mogao Grottoes. This kind of flying is a flying sky with the fusion of Chinese Taoist Fei Xian and Hindu Flying: Chinese Taoist Fei Xian lost its feathers, bare upper body, neck decoration necklace, waist tied long skirts, shoulder wraps; India's Buddhism lost his head on his head The round light and the Indian treasure crown, the buns were bundled and put on the Taoist crown. The character's publicity is the "showcase" shape of the Central Plains, with a long figure, a thin neck, a wide forehead, a straight nose, a thin eyebrow, a thin eyebrow, a slightly smile on the corner of the mouth. Its most representative is the twelve -body flying sky on the top of the south wall of Cave 282.这十二身飞天，头束双髻，上体裸露，腰系长裙，肩披彩带，身材修长，成大开口横弓字形，逆风飞翔，分别演奏腰鼓、拍板、长笛、横箫、芦笙、 Pipa, Ruan Xian, 乐 乐. Four weeks of flowers rotate, clouds fluttering, setting off the flying sky and flying to the wind, as light as a swallow, taking pictures of each other, free and joyful, roaming space.
The northern Zhou Dynasty is a minority regime established by the Xianbei people in the northwest. Although the period of rule is short, many caves have been built in Mogao Grottoes. The ruler of the Xianbei tribes believes in Buddhism and is in the western region. Therefore, the Western -style flying sky appears again. This new flying sky has the style of flying sky such as Guizi, Kizil, etc., round, strong, and legs. Short, rounded head, wearing Indian treasure crown, naked upper body, breast full of breasts, waist tied long skirts, shoulders around the towel strap. The most prominent is the face and body of the face and the body. Due to discoloration, five whites, white nose bridges, white orbits, and white chin. The flying posture became open "U", with a short body and simple dynamics, and almost returned to the characteristic characteristics of the painting style of flying in the Beiliang period of Mogao Grottoes. But the image was much richer than the Beiliang period, and there were many tricks.
The most northern Zhou -style flying sky is the flying sky in Cave 290 and Cave 428. Flying in these two caves. Strong body, round face, round head, wearing Indian treasure crown, facial features have five white characteristics, naked upper body, long waist tie skirts, shoulders around the towel, the body is stained with thick and uneven, and now due to the color change and the cord of the cord, the cord of the cord of the breast is rounded and the umbilical cord More prominent. The trick in the 428th cave is rich in shape, or the shape is rich, or the pipa is played, or the bounce, or blowing the flute, or hitting the waist drums, vivid image and beautiful posture. Especially the flying sky on the west side of the south wall, holding a whistle with both hands, kicking the purple gold crown in both feet, flying from the body, the four weeks of ceiling falls, and its flying posture, like a light swallow dive down. The Sui Dynasty was the era with the most flying days in Mogao Grottoes, and it was also the era with the most types of flying sky and the most abundant gesture. In addition to the position of the Sui Dynasty in the Northern Dynasties, Feitian was mainly painted around the top of the top of the cave, the upper layers of the cave, and the inside and outside the west wall Buddha. Most of the group appeared. Same. Regional characteristics are different. In the Sui Dynasty cave, there are both Western -style flying sky and Central Plains Flying, and it is also a combination of Chinese and Western.
The face shape is different, the face shape is rich and round, and there are beautiful types; the figure is robust and long. However, most of them are slender, with moderate proportion, soft waist, and generous. The clothing crown and clothing are different, some are half naked on the upper body, and there are Zhang Zhi; some wearing sleeveless skirts, as well as wide -sleeved long skirts; some wearing treasure crowns, buns, and bald monks Flying sky. The flying posture is different, some fly, some are flying, some are flying smoothly, some are flying against the wind, there are single flying, and there are group flying, but the posture of the flight is no longer in the "U" type. The body stretches freely. Generally speaking, Feitian of the Sui Dynasty was in a period of communication, integration, exploration, and innovation. The general trend is to develop in the direction of Sinicization, laying the foundation for the complete Sinicization of the Tang Dynasty. The most beautiful flying sky is the flying sky of Cave 427 and Cave 404. Cave 427 is one of the large caves in the Sui Dynasty. It is also the cave with the most flying sky in the Sui Dynasty. The four walls on the four walls of this cave are flying around the Cave on the wall of the Temple Palace, with a total of 108 body. These 108 flying sky, all wearing treasure crowns, half -naked upper body, naked decoration, handbriet, long waist, long skirts, shoulders around the ribbon, mostly the legacy of Flying in the Western Regions and the heritage of clothing. Although the skin tone has become dark, the image is still very clear. Flying around the cave. Its attitude, light body, fluttering long skirt, flying ribbons, and rolling wind. Around the sky, the flowing clouds fluttered, the flowers were flying, the dynamic was strong, and full of anger. Cave 404 is a medium -sized cave in the middle and late Sui Dynasty. The four walls of the cave are drawn along the wall of the Tiangong Palace, and the wall is flying around the cave for a week. Like the flying sky in Cave 427, there are different attitudes. Some are holding lotus flowers, some hands, and some of them are scattered, and some are holding various instruments.但在首饰服饰上有了很大的变化：头无圆光，不戴宝冠，有的束桃型仙人髻，有的束双环仙人髻，有的束仙童髻，脸为蛋形，眉清目Rice, slender figure, soft dresses, and long towel bandwidth. Clothing, face, and body are like flying in the early Tang Dynasty.
Dunhuang Feitian is the business card of Mogao Grottoes in Dunhuang and the sign of Dunhuang art. As long as you see a beautiful flying sky, people will think of the art of Mogao Grottoes in Dunhuang.
It is said that it is the rebound pipa picture of Cave 112
If it is that paper, the answer to the XXXX volume is directly, there are many
The answer is Dunhuang Feitian
Feitian
The logo of Dunhuang City, rebounding pipa