Research On The Form Of Yungang Flying Sculptures In Northern Wei Dynasty

As a form of Indian Buddhist modelling art,the Flying Apsaras is spread with the Buddhism Doctrine and the Buddha Statues.therefore the Flying Apsaras is endowed with special artistic aesthetic value.Through the study of its evolution in the grottoes of the development of Buddhism,this paper provides the historical value of the spread of Buddhism in China.As a link of the Indian Buddhism to China,The yungang grottoes in Northern Wei dynasty is the embodiment of its whole spreading vein.According to the time of excavation and style characteristics,Yungang grottoes was divided into three periods: Initial exploration period,integration period and coalescence period.In the Initial exploration period,there are general Gandhara style,and in the integration period,influenced by the reform of emperor xiaowen,the clothe style of modeling trend to spacious and delicate,which is a painting style in the southern dynasty.The engraving of Yungang model combines virtuality and reality,it contains Buddha,Taoism and Confucianism thoughts,paying attention to the pursuit of the unity of heaven and human.According to the styles,the Yungang Model divided into three periods,for Gandhara periods,Gandhara and Spacious compresence periods,and Spacious periods.Into the coalescence period,the Yungang style tends to mature,and the Yungang model turns into virtuality and reality combination.As a contrast,the grottoes in the northern Wei dynasty,the eastern Wei and the northern qi dynasty are quite different,the paper contrasts the difference Flying Apsaras in Malatya Beige grottoes,Mogao grottoes,Maijishan grottoes and Qingzhou Buddha statue,and study its evolution on this basis."Zhangjiayang","Caojiayang" and "Wujiayang" become a modelling of inheritance and availability changes.As a inheritance of Yungang model,Longmen grottoes and Gongxian grottoes began to change the stlye into short and weight,influenced by Chinses culture and aesthetic taste.In addition,through combining the analysis of graduation works,the paper Drawing on the realistic nature of Chinese traditional painting and western sculpture,and put forward the discussion on the new statue mode of the integration of its techniques.