The Evolution Of "Flying"

“Flying” is the most essential feature of Mogao Grottoes flying Apsaras model.Mogao Grottoes flying Apsaras is often used as a typical example of the sense of flying dynamic in the plastic arts,and also a representative symbol of Dunhuang art.Flying Apsaras has a middle “spirit tablet” in Buddhist scriptures,but becomes more and more popular after coming to Mogao Grottoes.It plays an indispensable role in decorative patterns and frescos,which is reflected in the change of quantity and schema.Less restraints of flying Apsaras model in Buddhist rituals provide relatively more free creation spaces for painters,which allows imagination and expression to be exerted incisively and vividly in flying Apsaras painting,especially in the expression of the sense of “flying dynamic”.From Wei and Jin to Sui and Tang Dynasties,the encounter of foreign art and Chinese art was an opportunity for flying Apsaras to enhance its the sense of “flying dynamic”.This is the most active era of Chinese ideological circle after the Warring States period.Which embodies the distinct blending,experimental and cultural self-discipline in the plastic arts.At the beginning of the encounter,Chinese painters learned the concave convex technique of Indian painting and gradation dyeing of color,which made the plane painting generate three-dimensional effect since Han and Wei dynasties.Buddhist painting enriches the original line modeling techniques of Chinese art.After the absorption and integration of the Wei,Jin,southern and Northern Dynasties,it objectively laid a solid modeling foundation for the following peak of figure painting in the Sui and Tang Dynasties.The formation of the sense of flying dynamic of flying Apsaras of Mogao Grottoes is in a special historical stage of confrontation between the north and the south,multi-ethnic integration and east-west communication.The introduction happened together with creation.Due to the multiple influences of geographical location,regime change,foreign culture and all national cultures in Dunhuang area,the flying model language of Mogao Grottoes in the Northern Dynasty has produced unprecedented richness,which reflects the artistic ecology in the period of Wei,Jin,southern and Northern dynasties.To divide the sixteen countries and the Northern Dynasties into the early,middle and later periods,it can be found that flying Apsaras absorbed all kinds of art nutrition,which was mainly reflected in the evolution of “flying” with a clear direction with some ups and downs,and laid the foundation for the prosperity of flying Apsaras Art in Sui and Tang Dynasties,and opened up a new environment.In this process,the elements of model,dyeing,line drawing,space and so on changed,which promoted the sense of flying dynamic to a new height.This kind of sense of flying dynamic model language is not a single linear development,but contains a dynamic,multi clue art practice,and leads to the integration and convergence.This paper “the evolution of ‘flying'-A Study on the model language of flying Apsaras in the sixteen countries and the Northern Dynasties of Mogao Grottoes” intends to explore the internal demand,external power,evolution context and specificperformance of its model reconstruction from the perspective of misreading the name of flying Apsaras.Through the study of the model language of flying Apsaras in this period,it is expected to touch the strong pulse of the past traditional art in the ups and downs of the times and cultural collisions.