Image Modeling And Aesthetic Spirit In"Dance"

In Buddhism art, Flying Apsaras is the decorative art figure, which displayed by painting, sculpture, etc, at the same time is the most characteristic adornment picture in Dunhuang mural. Since the discovery of Cangjing cave in the twentieth century and the large development after that, the art of the Flying Apsaras has been used everywhere in our socail life, and it is one of the classic symbol of Chinese culture now. The change of Flying Apsaras has put new requirements in front of the theoretical study. The previous study of Flying Apsaras, which was limited by the view of religious art, foused on the religious photograph, but there is little about the excavation and argumentation of the inner of the Flying ApsarasBased on the former study, this thesis, begining with the image, studys on the meaning of the Flying Apsa ras through the "Dance" spirit in the traditional Chinese art. There are five chapters in this thesis. In chapter one, also introduction, the purpose and meaning of topic selection are displayed, and also the study methods used in this paper. In chapter two, the original form of the "Dance" spirit is introduced, and the nature, the source and the sense of the "Dance" spirit are also included. In chapter there, the "Dance" spirit is discussed through the angel of the Flying Apsaras, the content of which is the modeling in the Flying Apsaras. First, the source and development of the modeling is introduced. And then, large mount of the apsaras modeling in DunHuang gotto are taken as examples to analysis the apsaras image to reveal the morphological characteristics of the modeling image. The characteristics enhance the expressive of these apsaras image. In chapter four, the relationship between "Dance" spirit and apsaras art is discussed. In detail, the discussion includes:the exhibition and meaning of the "Dance" spirit in apsaras,the exhibition of the "Dance" spirit in traditional Chinese music, calligraphy and painting, and the inner relationship with the Flying Apsaras. In chapter five the Flying Apsaras is studied based on the cultural connotation of the Flying Apsaras. The morphology of the Flying highlights the nature of the "Dance" spirit though the motion of the "Qi", and points out the "Dao", which is also the world’s origin. And then, flyback to the boundary of the harmonious. The conclusion is that, the "Dance" spirit is the integration of these three kinds of the cultural connotation. At the end of this thesis, I leaded the mean of hermit into the disscution of the Flying Apsaras. The freedom, which on the behalf of the hermit,is included in the Flying Apsaras by nature. What’s more, Flying Apsaras had been buried into the sand, and discovered again after a thousand years. The experience of the Flying Apsaras revealed the mean of hermit perfectly.