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论敦煌壁画里代表中华文化的符号——飞天形象
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Abstract:
敦煌莫高窟作为举世闻名的世界文化遗产,不论在历史、艺术亦或是文化领域都有很高的研究价值,其中敦煌壁画上所绘制的飞天形象更是其最具特色的代表作。本文则意在从文化的角度出发,探究飞天形象所代表的中华文化以及所展现出来的自由精神。敦煌壁画中的飞天形象原型起源于佛教,在发展的过程中又不断融合了中国本土的道教,以及敦煌地区的西域文化,最终在唐朝时期定型成为具有中华特色的文化符号。在中华上下几千年的悠悠长河中,可以看出中华民族对飞天的特殊情结:从原始对“鸟”的崇拜,到上古神话中的“嫦娥奔月”,再到会筋斗云的孙悟空等小说角色,都能看出中华民族对于飞向天空、追求自由的向往。敦煌壁画中的飞天形象也是极具自由精神的,祈求可以冲破世间所有的枷锁,向着天空飞去,寻求永恒的自由。本篇对敦煌莫高窟的飞天壁画所蕴藏的中华文化进行分析,意在可以对飞天形象做更深入的了解,并呼吁对于敦煌飞天壁画进行更大力度的传承与保护,以求使其可以迸发出无尽的活力与光彩。
Dunhuang Mogao Grottoes, as a world-famous world cultural heritage, has high research value in the fields of history, art and culture, among which the flying sky image painted on Dunhuang murals is its most distinctive representative. From the perspective of culture, this paper aims to explore the Chinese culture represented by the flying sky image and the spirit of freedom displayed. The prototype of the flying sky image in Dunhuang murals originated from Buddhism, and in the process of development, it continuously integrated the Chinese native Taoism and the western region culture in Dunhuang, and finally became a cultural symbol with Chinese characteristics in the Tang Dynasty. In the long river of thousands of years in China, we can see the special complex of the Chinese nation to the flying sky: from the primitive worship of “birds” to the ancient mythology of Chang’e flying to the moon, and the novel characters such as Sun Wukong who can somersault over the clouds, we can see the yearning of the Chinese nation to fly to the sky and pursue freedom. The image of the flying sky in Dunhuang murals is also very free, praying to break through all the shackles of the world, fly to the sky, and seek eternal freedom. This paper analyzes the Chinese culture contained in the apsaras murals in the Mogao Grottoes of Dunhuang, aiming to have a deeper understanding of the apsaras image, and appeals for the inheritance and protection of the Apsaras murals in Dunhuang, so that they can burst out endless vitality and brilliance.
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