Research On Angel Musi

Angels with wings on their shoulders spread all over the Silk Road during the Hellenistic era,and Cross-culture emerged in the murals of different religions.After that the adoration of "double wings" can be traced back to the ancient Mesopotamian civilization,which was later continued and developed by Greek art.Following the pace of Alexander’s Eastern Expedition,it spread to a wide area of Asia,Africa and Europe,and then formed the theme of angel music image.As a symbol of religion,angel’s music and dance image the internal connection between religion and music and dance,presenting the pluralistic integration of art and the mutual penetration of culture.Starting from the image of angels in the tomb of Wirkak of the Northern Zhou Dynasty in Xi’an,this paper collects and sorts out relevant archaeological image data,and uses mutual verification between images and texts to study the source of the angel’s music and dance image and the religious factors implied.The research content of this article is divided into five parts.The first part describes the general shape of Wirkak’s tomb,the carved and painted images,and angel’s music and dance image.According to the epitaph,the cultural background of Wirkak’s family is explored.From Sogdian cultural factors and connections,expand the next part to trace the origin of angel music and dance image.The second part sorts out the archaeological image data of winged figures in the Mesopotamia Valley and Greece in chronological order.It discussed the image of winged figures born in Western Mesopotamia and their early communication process.Later,it was referenced by Greek art and developed into the form of winged messenger music and dance,and became the prototype of the image of angel music and dance.The third part discusses the evolution of angel’s music and dance image streaming eastward,using relevant archaeological image data of Central Asia,explain the spread of the music and dance image of Greek winged messengers in Central Asia during the ancient Greek era.Persian Zoroastrianism endowed it with religious thoughts,and after combining with local religions,the music and dance images of angels were formed and gradually spread to China.The fourth part is based on the music and dance form of the angels in Wirkak’s tomb,and Explore the musical instruments and dance postures used by the angels in Wirkak’s tomb and their origins.It shows the integration of Chinese and foreign music and dance art,as well as the diverse and inclusive characteristics of angels.The fifth part discusses the religious factors of the music and dance images of angels in Wirkak’s tomb.Starting from the use of music and dance and the image of angels in Zoroastrianism,it is discussed that the guardian angel Fravashi uses music and dance as the guide for the undead,and music and dance has become a symbol of the heavenly world.Secondly,it discusses the reference of the music and dance image of angels to the Greek god of wine worship and the Central Plains ascension system.The music and dance of angels refer to the religious concept of resurrection from the dead,and becomes the sustenance of the sacred power of Zoroastrianism.Reflects the pluralism of Sogdian culture,it draws on many artistic elements to maintain its own religious tradition.