The legend of Dunhuang Mogao Grottoes is not too much, about 60 words.

1600 years ago, three monks and disciples wanted to go to the western paradise to find heaven. That evening, they went to Dunhuang. Before camping, the master asked two disciples to go out for alms. Two people, one east and one west, go their separate ways.

The monk in the west is called Lezun. When he came to a place, he saw the beautiful scenery-on Langlang, there was a winding stream flowing, and to the north of the stream was the endless Gobi, covered with yellow sand, barren and desolate; The southwest is an endless low mountain range. At the foot of the mountain, poplars are in the forest, green grass is everywhere, birds are contending and full of vitality. Facing the beautiful scenery, Le Zun sighed and forgot to return. After a long time, he felt a little tired and sat down to take a nap. Suddenly, a flash of golden light made Le Zun's drowsiness disappear completely. When I stood up and opened my eyes wide, I saw more than one golden light coming from the mountains southwest of Xi 'an. That is red, orange, yellow, green, blue and purple, which are emitted from the top of the mountain and shot into the sky, one after another, making the sky colorful, the clouds colorful, the desert red and Lezun flushed. Lezun is very savvy and has a deep practice. When he saw this scene, he suddenly realized that the quiet monk could not help but have blood. He rushed to his master and shouted, "There you are! Found it! " . With a knowing smile on his face, the master calmly and solemnly said to Le Zun, "Then you can stay." .

So, it didn't take long for the first cave to be born on the hillside of Mianxi in Luminous Mountain. Soon there will be a second and a third ... Le Zun devoted himself to building caves, making gods and worshipping Buddha, and integrated his talents, interests, sustenance and expectations into the mountains and caves in this desert.

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Edited on 2013-11-26.

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Dunhuang Mogao Grottoes Travel Guide _ Dunhuang Mogao Grottoes Travel Guide This article is enough.

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572020-06-06

The legend of Dunhuang Mogao grottoes

Hello, more than 1,600 years ago, there were three monks and disciples who wanted to go to the Western Heaven to find a paradise. They went to Dunhuang that night. Before camping, the master invited two disciples to go out for alms. Two people, one east and one west, go their separate ways. The monk in the west is called Lezun. When he came to a place, he saw the beautiful scenery-on Langlang, there was a winding stream flowing, and to the north of the stream was the endless Gobi, covered with yellow sand, barren and desolate; The southwest is an endless low mountain range. At the foot of the mountain, poplars are in the forest, green grass is everywhere, birds are contending and full of vitality. Facing the beautiful scenery, Le Zun sighed and forgot to return. After a long time, he felt a little tired and sat down to take a nap. Suddenly, a flash of golden light made Le Zun's drowsiness disappear completely. When I stood up and opened my eyes wide, I saw more than one golden light coming from the mountains southwest of Xi 'an. That is red, orange, yellow, green, blue and purple, which are emitted from the top of the mountain and shot into the sky, one after another, making the sky colorful, the clouds colorful, the desert red and Lezun flushed. Lezun is very savvy and has a deep practice. When he saw this scene, he suddenly realized that the quiet monk could not help but have blood. He rushed to his master and shouted, "There you are! Found it! " . With a knowing smile on his face, the master calmly and solemnly said to Le Zun, "Then you can stay." . So, it didn't take long for the first cave to be born on the hillside of Mianxi in Luminous Mountain. Soon there will be a second and a third ... Le Zun devoted himself to building caves, making gods and worshipping Buddha, and integrated his talents, interests, sustenance and expectations into the mountains and caves in this desert. Since then, the adventures of Lecun have been widely spread, and the Buddhist caves in Lecun have attracted great attention from countless businessmen, monks and civil servants, who have come to observe and worship, and many of them have also contributed money to make it more grand and the gas field has gathered. After the music bottle, the wind of building holes is enduring. Wave after wave, better every time. At the peak, there were more than 1000 caves. It has been 1600 years now. During this period, despite the hardships of time and war, there are still 492 complete caves, including more than 45,000 square meters of historical murals, more than 2,400 colorful sculptures and five wooden structures in the Tang and Song Dynasties. It is the largest and most complete collection of Buddhist art, architecture, painted sculptures and murals in the world. Although the glory peak of Mogao Grottoes is not in the era of Yue Zen, it is recognized by all the latecomers that Yue Zen has the highest moral practice, and later generations are above him. In order to show respect for Le Zun, it was named "Mogao Grottoes". This is one of the interesting legends of Mogao Grottoes.

639 Browse1374 42017-11-24

The myth of Dunhuang Mogao Grottoes. 50 words

There is a myth that rewards Dunhuang Mogao Grottoes. The myth of Dunhuang Mogao grottoes is 50 words. I'll give you a reward of 50 words. Wangyun267 Zhihu Partner History Expert 2016-11-10. Talking about flying in Dunhuang is the business card of Dunhuang Mogao Grottoes and a symbol of Dunhuang art. As long as you see beautiful flying, you will think of the art of Dunhuang Mogao Grottoes. Almost all the caves in Dunhuang Mogao Grottoes are painted with flying sky. Tian Fei, known as The god of the sweet sound in Buddhism, is a beautiful bodhisattva, who can play music, is good at flying and exudes strange fragrance. Flying in the Tang Dynasty is more colorful and lifelike. She is neither like a winged Greek angel nor like an ancient Indian goddess walking on clouds. China artists use long streamers to make their elegant and light female bodies fly all over the sky. Flying is a gorgeous image of national art. When Dunhuang is mentioned, people will think of magical flying. As far as origin and function are concerned, Tian Fei in Dunhuang is not a god, but a synthesis of Ganlu and Kinnara. Ganlupo is a transliteration of Indian Sanskrit, literally translated as the god of nature. Because he is full of fragrance, he is also called the incense god. Kinnara is a transliteration of ancient Indian Sanskrit, which literally means God of Music. Gandiwa and Kinnara were once the entertainment gods and dance gods in ancient Indian mythology and Brahmanism. Myths and legends say that they are a loving couple, who can sing and dance, and are inseparable and harmonious. Later, it was absorbed by Buddhism and became two gods among the eight gods.

4 browse 8 182020-05-28

The Story of Dunhuang Mogao Grottoes: Twenty Crosses

Dunhuang, located in the southwest of Gansu Province, passes through the ancient Silk Road in Hexi Corridor. This is the last border town to enter the western regions. The most important value of Dunhuang is Dunhuang Grottoes, which will not be submerged by yellow sand. Mogao Grottoes is the representative grottoes of Dunhuang Grottoes, built on the cliff of Mingsha Mountain, 25 kilometers southeast of Dunhuang today. Since 366 AD, caves and statues have been continuously opened here in the following 1000 years. Rows of Buddhist caves are distributed on cliffs with a height of 15 to more than 30 meters, forming a cave group with a length of 1680 meters from north to south, and there are 735 existing caves built in past dynasties. The art of Dunhuang Grottoes is a comprehensive art integrating architecture, painted sculptures and murals. Early colored plastic sculptures have obvious exotic customs, but as long as local people imitate and make them, they will inevitably participate in their own aesthetic ideals and local culture. By the Sui Dynasty, painted sculptures had completely left the city walls, giving full play to their subjectivity and independence. Most of the colored sculptures in the late Sui Dynasty were close to the standard body proportion of China people. In the Tang Dynasty, the volume, scale and quantity of Dunhuang colored sculptures increased unprecedentedly, and the genre breadth and artistic achievements surpassed those of the previous generation, which could not be surpassed by later generations. Dunhuang colored sculptures profoundly reflect the prosperous Tang Dynasty. Peking University Buddha is the largest statue in the Mogao Grottoes, with a height of 34.5 meters. Its calm spirit is the embodiment of the powerful national strength of the Tang Dynasty. The Sui and Tang Dynasties was the heyday of Dunhuang flying art, which completed the process of China, feminization, secularization and song and dance. The evolution of Tian Fei reflects the history of cultural exchanges between China and the West. In terms of artistic techniques, after China sketched the lines, he filled the colors with the western "daubing method", which made the characters' expressions so vivid and rich in texture. The music and dance in Dunhuang murals belong to the fine works of art of all mankind. It is this kind of "playing the pipa" dance that inspired the creation of the dance drama "Rain on Silk Road" and achieved great success at home and abroad. In the murals, there are more than 200 caves of music schools, more than 500 groups of different types of bands, more than 40 kinds of musical instruments and more than 4,500 pieces of * * *. "Hu Xuan Dance" is mainly a performance of rotation, and the rhythm is very fast. The scene of this large-scale music and dance performance, recorded in Dunhuang murals, can only be "a glimpse of leopard spots." 1900 in may, Eight-Nation Alliance's strong ships and strong guns entered Beijing, the capital of China. The second month after Eight-Nation Alliance captured Beijing, Taoist King asked a young man to copy the inscriptions on the murals of the Mogao Grottoes. Mr. Yang took Achnatherum splendens, which was ready to light a lamp, and poked the secret of the Tibetan Sutra Cave. Wang sent several volumes of scriptures to the Dunhuang magistrate and sent them to the leaves of Gansu Academy. Ye, an epigraphist, immediately suggested that all the scriptures be sent to Lanzhou, the provincial capital, for safekeeping. Unexpectedly, the provincial government was unwilling to pay the freight, so it only booked March 1904, and the Dunhuang county government forgot it. 1906 In February, Stein, a Hungarian Jew serving Britain, came to China. He heard from a Turkish businessman that the Taoist king of Dunhuang had ancient books, so he rushed to Dunhuang regardless. Stein spent seven days and seven nights randomly selecting cultural relics, selected more than 3,000 well-preserved scrolls and more than 500 paintings, packed them in 29 large wooden boxes, and quietly left Dunhuang. 16 months later, these treasures arrived at the British Museum in London, shaking the whole of Europe. Stein's discovery is listed as one of the greatest discoveries of the 20th century. French, Japanese, Russian and American quickly organized expeditions to China from different directions. The Frenchman Pelliot glued off 26 of the most exquisite murals with pre-made chemical tape, and stole several colorful sculptures, including the half-kneeling Guanyin with a height of 1.2 meters. As early as 1905, Brou chev, a Russian, cheated a batch of books from Wang. 19 14, another Russian, Odenburg, also came to Dunhuang, stripped off a batch of murals and stole some colored sculptures. 19 1 1 year, the Japanese otani expedition rushed to Dunhuang and bought more than 300 volumes of scriptures and two exquisite statues of the Tang Dynasty from Wang, together with a large number of stolen Turpan documents. Dunhuang cultural relics in the British Museum cover Han, Turkic, Xixia, Tubo, Tuhuoluo, Uighur, Sanskrit and other aspects, which are of inestimable value for studying the history and culture of these ancient peoples. The literature of Dunhuang Tibetan Sutra Cave covers almost every field of society, including medical acupoint maps, military documents, poems and novels, dance scores, multiplication formulas, copybooks, title deeds, indentures and so on. Paintings in the Tang dynasty are extremely rare, and a large number of paintings in the Tang dynasty have been unearthed in the cave of Tibetan scriptures. The Dunhuang paintings in the British Museum are the most wonderful. The loss of documents in Dunhuang Buddhist scriptures caves led to the emergence of international Dunhuang studies. However, the loss of Dunhuang documents to many countries in the world has disrupted the Dunhuang document system and brought difficulties to the research and development of Dunhuang studies. 1909 epitaph Luo Zhenyu found ancient documents sent by pelliot in a calligraphy and painting mounting shop in Suzhou Hutong. He found a classmate and asked pelliot to show his antiques in public at the Six Kingdoms Hotel. Peliot said that these ancient books came from the Mogao Grottoes in Dunhuang, which was filled with wind and sand. After that, Luo Zhenyu and others came to Bohiva's residence in Babao Hutong every day to watch and copy the Dunhuang documents in Bohiva's hands. China's Dunhuang studies began in such a hurry. Luo Zhenyu reported the disaster situation in Dunhuang to Zuo Chengqiao, the academic department. He ordered the Governor of Shaanxi but Gansu to seal the Buddhist scriptures in the Mogao Grottoes on the spot, and allocated 6,000 taels of silver for the Dunhuang county magistrate to collect lost cultural relics. Before the arrival of the van, Wang quietly hid many precious manuscripts in two large prayer wheels. These precious documents were finally transported abroad by Stein who came to Dunhuang for the second time in 19 14 and the Japanese Otani expedition. Dunhuang documents shipped to Beijing were plundered by officials all over the country along the way. At that time, many famous scholars devoted themselves to this cultural rescue movement. Liu Bannong, a linguist, first arrived at the French National Library in Paris and spontaneously copied 104 Dunhuang documents. However, the Mogao Grottoes in Dunhuang, which scholars care about, have gone to despair. Grottoes are riddled with holes because of serious natural weathering, and are in danger of collapse at any time. The villagers still go to the Mogao Grottoes to raise horses, make fires and cook as usual. 1920, a group of Belarusian officers and men exiled in the October Revolution fled to China and were detained by the local government of China. Officials in Dunhuang regarded the broken Mogao Grottoes as prisons, but they were all put in, leaving behind Slavic slang and the number of their troops, as well as traces of smoky fire. 194 1 year, the great artist Zhang Daqian came to Dunhuang. Seven months later, he went to Lanzhou and entrusted some of his works copied in Dunhuang to Chengdu, where he held the "Westbound Oil Painting Exhibition". The next year, he took all his wife and children to live in the Mogao Grottoes. Zhang Daqian numbered all the five-story holes and copied 276 works. Zhang Daqian painted walls for three years and touched many people. The northwest delegation of the Ministry of Education went to Dunhuang from Lanzhou. The delegation went to the Yulin Grottoes in Dunhuang, and Yu Youren, president of the National Government Supervision Institute, also came to Dunhuang. Zhang Daqian asked the government to set up a special agency to protect the Mogao Grottoes. Yu Youren suggested to the National Government that Dunhuang Art Institute should be established. Chang Shuhong, a young man from China who studied in Paris, was nominated to take charge of this work. Life in Dunhuang is hard and monotonous, and my wife, who can't stand the difficulties, left without saying goodbye. But Chang Shuhong refused to give up his responsibility, let alone his ideal. Duan Wenjie, Fan Jinshi and other scholars from Dunhuang Research Institute followed in Chang Shuhong's footsteps and pushed forward the cause initiated by Chang Shuhong unremittingly. The protection and research of Dunhuang art treasures are being carried out in an orderly way. Dunhuang murals are the main part of Dunhuang art, with huge scale, rich content and exquisite skills. More than 50,000 square meters of murals can be roughly divided into the following categories: First, Buddha paintings. As a religious art, it is the main part of murals, including: all kinds of Buddha statues-III Buddha, VII Buddha, Sakyamuni Buddha, Duobao Buddha, and saints robbing thousands of buddhas. Various Bodhisattvas-Manjusri, Pu Xian, Guanyin, Shi Zhi, etc. Tianlong Babu-King of Heaven, Dragon King, Hag, Tian Fei, Asura, Goruda (King of Golden Winged Birds), Kinnara (Lotte), Python God and so on. Most of these Buddha statues are painted in the statement. There are 933 talking pictures in the murals of Mogao Grottoes alone, and there are 12208 Buddha statues with different expressions. Second, the painting on the static edge uses painting, literature and other artistic forms to express profound Buddhist classics in an easy-to-understand way, which is called the painting on the static edge. Painting is called "disguised painting", that is, classic painting; Those who use words and singing methods are called "bianwen". Third, the theme of national traditional myths. In the caves in the late Northern Wei Dynasty, there were mythical themes with Taoist thoughts. At the top of Cave 249 in the Western Wei Dynasty, except for the lotus algae well in the center, Manizu was painted on both sides, and Dong and the Queen Mother of the West were painted on both sides. The car hangs high, the flag flutters behind, the alchemist holding the flag clears the way in front, and the dragon head enlightened the beast behind. Suzaku, Xuanwu, Qinglong and Baihu are distributed on all walls. Fei Lian fluttered his wings, and Lei Gong swung his arms and rolled the drum. The lightning flashed with an iron drill, and the rain teacher sprayed it, and it rained. Four. Portrait of a supporter A supporter is a person who believes in Buddhism and invests in building a grotto. In order to show their devotion to Buddhism and to leave a name for future generations, they painted portraits of themselves, their families, relatives and handmaids in the cave when they opened it. These portraits are called provider portraits. V. Decorative Paintings Colorful decorative paintings are mainly used for the architectural decoration of grottoes, as well as the decoration of tables, crowns and utensils. Decorative patterns vary with the times and are ever-changing, with superb painting skills and rich imagination. Pattern painting mainly includes algae well pattern, rafter pattern, edge decoration pattern and so on. Six, story painting In order to attract the masses and vigorously publicize Buddhist scriptures and Buddhism, it is necessary to instill abstract and profound Buddhist classics into the masses in a popular, concise and vivid form, inspire them and make them believe in worship. As a result, a large number of story paintings were painted in the cave, which made the masses receive subtle education in the process of watching. The story painting is rich in content, touching in plot, full of life breath and attractive in charm. 1, Buddhist stories mainly publicize the life story of Sakyamuni. Many of them are ancient Indian myths and folklore, which were processed and modified by Buddhists for centuries and attached to Sakyamuni. Generally, there are many scenes of "elephant riding a human fetus" and "crossing the city at midnight". The Buddhist stories in Cave 290 (Northern Zhou Dynasty) are juxtaposed into six horizontal volumes, drawn by sequence structure, and 87 paintings depict the whole plot of Sakyamuni from birth to becoming a monk. Such a long and huge cartoon is rare in China's Buddhist story paintings. 2. Bunsen story painting refers to a vivid story that depicts all kinds of good deeds of Sakyamuni before his death and publicizes "karma" and "asceticism and good deeds". It is also a popular theme in the early murals in Dunhuang, such as "Shame for feeding the tiger", "King Pi's remains give their lives to save pigeons", "Nine-colored deer give their lives to save the people" and "Xu Ge give their lives to serve their relatives". Although they are all branded with religion, they still maintain the true colors of myths, fairy tales and folk stories. 3, karma story painting This is the story of Buddhist disciples, good men and women, and Sakyamuni. Different from Bunsen's story, Bunsen only tells the story of Sakyamuni before his death. Karma is about Buddhist disciples, good men and good women in past lives or this life. The main stories in the murals are "500 robbers become Buddhas", "Misha committed suicide by keeping the precepts" and "the good friend prince went to the sea to get treasure". The story is bizarre in content, tortuous in plot and quite dramatic. 4. Buddhist historical story paintings refer to stories drawn according to historical records, including Buddhist holy places, induction stories, stories of eminent monks, auspicious pictures, and precept paintings. It contains historical figures and events and is an image of Buddhist historical materials. This kind of painting is mostly painted in cave niches, the top of tunnels and the corners of secondary places. However, there are also some paintings on the front wall, such as the map of Zhang Qian's mission to the western regions in Cave 323, the Buddha statue, and the Liu Sa in Cave 72. 5. Metaphor story painting This is the story that Sakyamuni listed when explaining Buddhism to Buddhist disciples and good men and women in a simple and easy-to-understand way. Most of these stories are fables and fairy tales from ancient India and Southeast Asia, which have been collected and recorded by Buddhists in Buddhist scriptures and have been preserved to this day. The concrete stories in Dunhuang murals include "Golden Elephant to Protect the Elephant" and "Golden Lion". Seven, landscape paintings The landscape paintings in Dunhuang murals are all over the grottoes, with rich contents and various forms. Most of them are integrated with classic paintings and story paintings, which play a foil role. According to Buddhist scriptures, some describe the beautiful natural scenery of "Elysium" with mountains and rivers, birds' songs and flowers, which means that the scenery is realistic and the imagination is superb; Some are independent picture frames with mountains and rivers as the main body, such as 6 1 Cave Wutai Mountain Map. In addition to the above seven categories, there are architectural paintings, utensils paintings, flower-and-bird paintings and animal paintings. The artistic value of Dunhuang murals is precious, which systematically reflects the artistic style and its inheritance and evolution in various periods from the aspects of structural layout, figure modeling, line drawing and color setting, as well as the historical face of the exchange and integration of Chinese and Western arts. In addition to decorative patterns, the above-mentioned seven kinds of murals generally have plots, especially repainting and story painting, which reflect a lot of real social life, such as travel, banquet, interrogation, hunting, shaving and worshipping Buddha. Ruling class; Working people's farming, hunting, fishing, pottery making, iron smelting, slaughtering, cooking, building, begging, etc. ; There are also various social activities such as marriage, school, martial arts, singing and dancing, business trips, ethnic minorities, foreign envoys and so on. So Dunhuang Grottoes are not only art, but also history. Dunhuang murals are rich in content. Like another religious art, it is an art that describes the image, activities and relationship between God and man, in order to pin people's good wishes and appease people's hearts. Therefore, the style of mural painting is different from that of secular painting. However, any art originates from real life, and any art has its national tradition; Therefore, most of their forms come from the same artistic language and expression techniques and have the same national style. Mystery of mural painting: Who painted Dunhuang mural painting, which is a world art treasure? Researchers have been waiting to discover the eternal mystery about the mural artists in the north area of Mogao Grottoes. They believe that the 243 caves in the north of Mogao Grottoes are the residences of Dunhuang painters. However, recent archaeological reports from caves in the northern region show that these caves are places where monks live, practice or print Buddhist scriptures, which makes the eternal mystery of murals more confusing. There are 735 caves in Dunhuang Mogao grottoes, of which nearly 500 caves are painted with huge murals, with a total area of more than 45,000 square meters, and the painting time is 1000 years. It is considered as the largest gallery in the world. Ma De, a researcher at Dunhuang Research Institute, said that according to the study of the inscriptions on murals and Dunhuang documents, only the painters of murals around 10 century had sporadic information, but in the murals from the 4th century to the 9th century, no information about the author could be found. He said that among the numerous Dunhuang documents and a large number of inscriptions on murals, there are only more than 40 inscriptions and literature records about mural authors, while the famous mural author is only 12 Ping. On the north and south walls of the third cave excavated in the Yuan Dynasty, there are extremely exquisite Guanyin statues with thousands of hands and eyes. These two avalokitesvara statues with thousands of hands and eyes are written in lines and their capacity is shown in colors. These characters are outlined with strong lines, with faint smudges on the outline. Some of them show colorless skin. It is recognized that this is the best of Dunhuang murals. The inscription on the mural is "Xiao Yu's sentimental pen of Ganzhou history". Experts believe that Shi Xiaoyu should be from Zhangye, Gansu Province today. Shi Xiaoyu is probably a stage name rather than a real name, and his life cannot be verified. Another difficulty in determining the authors of most Dunhuang murals is that painters before the Song Dynasty generally did not sign their own names. In all the inscriptions on murals, it is also difficult to see the painter's records. Researchers believe that there are four main sources of Dunhuang painters: first, folk painters in the western regions,