The Study Of The Localization Of Flying Apsaras At Gongyi Grottoes In The Late Northern Wei Dynasty

The history of Buddhist sculpture in Wei, Jin, southern and Northern Dynasties is a history of national and Chinese history. Buddhist art from India into China, and the Chinese mainland era background, cultural soil, aesthetic interest and other reactions, experience collision,blending process, in this take root. The style of Buddhist art gradually by foreign artistic style transition to full native art style Chinese aesthetic style. The Northern Wei Dynasty, China Development for the rapid spread of Buddhism in Chinese and Buddhist art of good political foundation, relatively complete social conditions and free open culture has created important conditions.This paper analyzes and discusses, first of all, for the transfer of time and place, an overview of the early India and rheological style and art in different regions, east stage art style,summarizes the origin and development of the art of flying Apsaras in general.Then, it focuses on the factors of the aesthetic characteristics of Chinese art and style art form behind the comprehensive effect. Finally, from the implicit aesthetic trend of Gongyi grotto art style behind the flying characteristics and visual imagery, focuses on the development of China Gongyi grotto feitian. The conclusion of this paper, summarizes the middle process of the Gongyi Grottoes in flying, which triggered the Guth today, thinking about the relationship between Contemporary Art: Contemporary Art China how to handle and grasp the foreign art form and China folk art.