A Study On The Formation Of The Body Language Of "Flying Figure" In Yungang Grottoes

During the Wei and Jin Dynasties,regime changed frequently,and the political power established by ethnic minorities slowly took root in the land of the Central Plains.This is an era of "art conscious ".The turbulent society has achieved the liberation of the mind,and the literati and the literati have pursued purely artistic.The Yungang Grottoes,famous for its carvings,are the first royal stone cave built in the history of China."Flying Figure ",as an important image in Buddhist art,witnessed the "Chineseization" of the grotto art.They shuttled through all caves and among the Buddhist monks,recording the trajectory of the transformation of Buddhist art in India,Western Regions and China.This paper takes Yungang Grotto "Flying Figure" as the research object,and analyzes the body language of the " Flying Figure" formed in three periods separately ruled by Wencheng Emperor,Xianwen Emperor and Xiaowen Emperor in Northern Wei under the influence of Confucianism,Buddhism and Taoism.It also focuses on the process of the transformation of the body language "Flying Figure” is mainly discussed from the perspective of dance form.At the same time,based on the cultural,economic,religious and other cultural perspectives,this paper further pays attention to the influence of the metaphysical change of consciousness on the change of the shape of the dance during the process of the transformation of "Flying Figure" body language under the cultural context of Xianbei grassland,the multi-ethnic blending and Chinese cultural system.Hereafter,combines historical materials research to systematically analyze the non-literal language symbol--the body language of "Flying Figure,and analyze its specific metamorphosis in the process of "nationalization".In turn,it enriches ancient dance corpus,dance creation and The arrangement provides a theoretical basis.