#靠浦荐宝 #
Although the Forbidden City Dunhuang Special Exhibition exhibits many cultural relics, it is still the classic murals that pujun @ Pufeng prefer to see, of course, all the murals are copied or copied.
Although in a general sense, everyone despises and disdains reproductions or imitations, after all, there is still a gap between them and the original. But it's better than not looking at it. And with the advancement of science and technology now, the accuracy of replicas is getting higher and higher. We can still appreciate the aesthetic or historical value of it.
In this article, I will show you some of the wonderful murals exhibited in the Dunhuang Special Exhibition.
Each mural has a lot of content and is attractive, so it can't be presented in its entirety, so I picked some parts that I liked by Pujun @ Pufeng.
The picture is based on the preface to Buddha Poli's translation of the Buddha's Sutra of Victory over the Buddha's Torah, and describes the reason for the translation of the Buddha's Sutra by the Buddhist monk Buddha Poli. The depiction of nature in the work is very wonderful, with green mountains and thin water meandering. Travelers walk through the green mountains and rivers, women wearing veiled hats, western-style castles, constitute an idyllic landscape painting. These landscapes are outlined with lines, and the green and green are heavy colors, which should be the green landscape painting method recorded in the history of painting, and occupy a considerable position in the history of Chinese painting.
The picture shows the complex architectural space from multiple perspectives, showing the rhythm and rhythm of many buildings connecting the teeth and staggering. The painting depicts a large temple with a symmetrical layout and depth at a downward viewing angle, while the pavilion on the central axis is looked up to make the temple more tall and magnificent. This painting and the Pure Land Temple on the north wall of the same cave belong to the masterpieces of Sheng Tang architectural painting, while the shape and distribution of the two walls of the single building are different, showing the diversity of the layout of the temple.
Shuiyue Guanyin is one of the thirty-three Buddhist Guanyin statues, which is said to have been created by the Tang Dynasty painter Zhou Fang, and the Tang painting Shuiyue Guanyin no longer exists. The Statue of Guanyin of the Water Moon in the Dunhuang murals was first seen in the early 10th century and became a huge work in the 11th century, and these two statues of Guanyin in Cave 2 of Yulin Cave are representative works of this period. The picture shows a deep, quiet atmosphere, so that the viewer can see and forget the world, it is Dunhuang
A rare masterpiece in the art of the late grotto.
The white-clothed Guanyin is one of the various phases of guanyin bodhisattvas, and the white color means purity, symbolizing bodhichitta. The painting is symmetrically composed left and right, with the bodhisattva sitting facing the provider, which is the classic opposite-seating pattern. According to the content and style of the picture, the silk painting should be painted in the late Tang Dynasty to the Five Dynasties period. The painting was excavated in the Early 20th century in the Dunhuang Tibetan Scripture Cave, donated by Su Zhangzhang to the Sichuan West Cultural Relics Management Committee in 1951, and later transferred to the Palace Museum by the State Administration of Cultural Heritage.
The Cao family of the local officials and eunuchs in Dunhuang has the most preserved offerings in the Mogao Grottoes, and these two female offerings are like the noblewomen of the Cao family, and the decoration is luxurious.
The Thousand Hands and Thousand Eyes Guanyin Sutra is drawn according to the Thousand Hands and Thousand Eyes Guanyin Bodhisattva's Vast Perfection without Hindrance to the Great Compassion Of the Dravidian Sutra. Forty hand paintings are tightly drawn, each knotted with different handprints, holding different magic tools, portraits are outlined with ink lines, the pens are light and heavy, virtual, light and light, thick and light, the organizational layout is dense and scattered, the colors are light and elegant, the shape is solemn, and the line drawings of Chinese paintings are almost gathered on the wall, which is another peak of Dunhuang art.
The Uighur Khan in the painting has a rounded face, willow eyebrows and thin eyes, a beard of eight characters, and a rounded and plump face. The costume is typical of the Uighur costume, wearing a peach-shaped cloud crown, a round neck narrow sleeve dragon robe, and a leather belt at the waist. He wears white felt boots on his feet and holds an incense burner in his hand to salute the Buddha. A young man standing beside him should be a prince. There are eight attendants, each holding an umbrella cover, a treasure fan, a bow and arrow, a sword, a golden melon, a shield, and so on.
Deer King Bunsheng is the earliest horizontal scroll comic strip in Dunhuang. The development of the storyline transitions from the two ends of the work to the middle of the picture, and finally ends with a unique composition that highlights the climactic part of the story (the nine-colored deer and the king meet), which is very cleverly conceived.
The work is a portrait of a donor, painted on the south wall of Yongdao Road. The original mural was severely mutilated due to natural causes, but later in the 1950s, Mr. Duan Wenjie, president of the Dunhuang Research Institute, studied and copied the painting.
The figures in the figure depict The Dudu And her two daughters and nine maids dressed in men's clothing, in turn, based on their elders and children.
At the temporary exhibition hall under the Noon gate Xima Road, three replica caves of Dunhuang Mogao Caves, Cave 285, Cave 220 and Cave 320, are also exhibited. Such a display allows the audience to experience the unique charm of the Dunhuang Grottoes and the Forbidden City at close range.
Located in the middle of the southern district of Mogao Grottoes, this cave was founded in the Sheng Tang Dynasty (rebuilt in the Middle Tang, Song and Yuan Dynasties), and is one of the representative caves of the Sheng Tang Dynasty. The main room is a bucket-shaped roof with a niche on the west wall. The main room is nearly square, the cave top algae well painting cloud head peony well center, surrounded by square sheng pattern, half a group of flowers, diamond-shaped pattern, group flowers, scale patterns, hanging horn bell mantle drapery decorated with Zhu, green, green color overlapping rhyme, the color is rich and thick, preserved, four thousand Buddhas. Southern mural thousand Buddhas central Shakya Dharma tu shop (in 1924 by the American Warner robbed both sides). The statues in the western niches only have floating backlights, one disciple, and two bodhisattvas. In the niches of Maitreya, the two disciples, the four bodhisattvas, and the two heavenly kings stand in turn, and the heavenly kings are dressed in chainmail armor and hips, which are only seen in the sayings. The niches are made of eight disciples and two bodhisattvas, and the bodhisattvas are richly dressed; the outer sides of the niches are painted with Guanyin. The northern mural triptych layout of the view of the immeasurable life of the change, in the middle is the "Pure Land of Bliss" content, flanked by "no resentment", "sixteen views", the form is similar to the Amitabha Sutra in disguise, this painting focuses on highlighting the depiction of lotus peanuts, auspicious birds and birds and tricks in the treasure pool, the realm is elegant, the colors are mainly blue, green and black, and the hue is light, which is one of the styles of the similar themes of the Sheng Tang Dynasty.
Partial frescoes in Cave 320.
This cave is located in the middle of the southern district of Mogao Caves. Founded in the early Tang Dynasty (Middle Tang, Late Tang, Five Dynasties, Song, Qing Dynasty Restoration). The main room is a bucket-shaped roof with a niche on the west wall, which is one of the representative caves of the Tang Dynasty. During the Song or Western Xia dynasties, the cave murals were all covered and painted with thousands of Buddhas on the wall. In 1944, the Dunhuang Art Research Institute stripped off the upper frescoes of the four walls, and the masterpieces of early Tang art were impressively revived. There is a niche on the west wall of the main room, which is made of one Buddha, two disciples and two bodhisattvas (Qing Re-cultivation), and the niches are blurred along the lower painting of the early Tang Dynasty. On both sides of the niche are painted Manjushri and Puxian. The south wall is a large painting of the tongbi wall: the south is the infinite life meridian change, and the north wall is the medicine man warp change. On the east wall door is painted a shop of Dharma diagrams, one for each male and female provider, and one side of the inscription of the sixteenth year of Zhenguan (642); the two sides of the door are painted with vimal sutras. In 1975, the Dunhuang Institute of Cultural Relics carried out the overall relocation of the heavy floor of the cave, and the murals on the ground floor were intact. Each of the murals in this cave is a fine work, and the statue of Vimal is a masterpiece of figure painting; the emperor and minister who came to ask about Vimal can be compared with Yan Liben's "Imperial Diagram". The two "Pair Dances" (known to many scholars as "Hu Xuan Dances") and their bands are valuable materials for the study of music and dance.
The two "Pair Dances" (known to many scholars as "Hu Xuan Dances") and their bands are valuable materials for the study of music and dance.
The emperor and minister who came to ask about Wei Mo were comparable to Yan Liben's "Emperor Chart".
The vimal statue is a masterpiece of figure painting.
The cave was excavated during the reign of the Western Wei Dynasty (the fourth year (538) and the fifth year (539 year) of the Western Wei Dynasty are preserved in the prayer text on the north wall of the main room), and it is the earliest cave in the Dunhuang Grottoes with an exact excavation date. The main chamber is a roof-shaped cave with a square plan. In the center of the cave room, there is a square altar built in the Yuan Dynasty, and the south wall and the north wall are symmetrically excavated with 4 small Zen chambers. Some of the zen rooms or doorways still have part of the pagoda body of the small pagoda built in the Yuan Dynasty. The square well in the center of the cave roof is painted with a canopy-type algae well. The four paintings depict the gods of traditional Chinese mythology and the protector of Buddhism, including mani orbs, lux, feitian, lei gong, wuyu fearing beasts, fuxi, nuwa and so on. The lower part of the four cloaks is painted with 36 Zen monks sitting in the mountains and grass huts in a week. The mountains and forests are painted with various scenes of wild beasts and hunting. In the center of the west wall, a large circular niche is chiseled, with a small niche on each side. Inside the main niche is a seated Buddha, and in the small niche is a statue of a Zen monk wearing a hood. The upper part of the outer wall of the niche is painted with the image of the outer path of the heavens, including the sun and the sky, the moon and the sky, the stars, the Maharata heaven, the Vishnu heaven, the Kumara heaven, the Vina Night Katian and the offering bodhisattva, etc., the lower part depicts the four heavenly kings, the Brahma immortals, etc., and the lower niche is painted along the south wall of the honeysuckle pattern, which is divided into three sections: upper, middle and lower. In the upper section, Tongbi paints 11 musical instruments in the flying sky; in the middle, Tongbi paints the story painting of "Five Hundred Bandit Karma", and at the end of the painting of Shakya and Duobao "Two Buddhas Sitting Side by Side"; in the lower section, four small Meditation rooms are opened, and the walls between the meditation rooms are painted from east to west with the story paintings of "The Sister of the Elder of Huabati", "The Edge of the Evil Bull", "The Fate of shami keeping the precepts of suicide" and "Brahman Shi Wen Wei". Its representation, either in a long scroll comic strip, or in a single painting. The bottom of the story painting depicts King Kong Lux. The north wall is divided into two sections: upper and lower. The upper section of the wall is painted with seven paintings of the Sayings, and below each shop there are vows and male and female providers. Among them, the second and seventh shops from the west can also be read. There are also 4 small Zen rooms in the lower section, corresponding to the small Zen room on the south wall. Above the east wall door are three seated Buddhas, and on the south and north sides of the door are painted large Buddha charts. The top floor of the Yongdao road remains a shop of sitting bodhisattvas painted by the Tang Dynasty, a shop of Guanyin sutras painted in the south wall of the Tang Dynasty paintings, and a shop of Guanyin sutras in the tang paintings of the North Wall. The front chamber is flat and rectangular, and the roof of the cave is a slope-shaped shape, with remnants of Song paintings. A small cave is opened on the west wall door of the front room (Dun Ed. 286 Cave), and the statue of the Song Dynasty supporter remains in the south of the door, and the Middle And Tang paintings can be seen on the ground floor, and the lowest level is the Western Wei mural. North of the gate is Cave 287, where the Song Dynasty painted male offerings.
Partial frescoes in Cave 285.
Today's 3D technology has been very powerful, can be a good restoration of the grotto scene. It's much clearer than seeing in a real grotto. This method is particularly worth promoting under the premise that the Dunhuang Grottoes refuse all equipment even if it is a safe camera to shoot.