wholesale jewelry natural stones Is Feitian a character (fairy) or what does it mean?

trump jewelry wholesale Flying, an ancient and modern term. It includes ancient flying and modern flying. Ancient Flying was a business card of Mogao Grottoes in Dunhuang in Gansu. It was a sign of Dunhuang art and an immortal artwork. Just see beautiful flying sky. People think of the art of Mogao Grottoes in Dunhuang. Among the 492 caves in the Mogao Grottoes in Dunhuang, almost the paintings were painted. A total of more than 4,500 body. The number of it can be said to be the most popular grottoes in the world and Chinese Buddhist grottoes. And modern flying, what is referred to is the Shenzhou series launch -car rocket launched by the Jiuquan Satellite Launch Center. Hyundai Feitian is the pride and pride of modern people, because it symbolizes the greatness and prosperity of our motherland, and it is the embodiment of a comprehensive national strength of a country. Born in the hometown of Feitian, the hometown of Feitian is the pride and pride of the flying people. Feitian let the world understand Feitian and let Feitian's hometown Jiuquan go to the world.
The name of Dunhuang Feitian's name in Buddhism is called "heaven", such as "Great Brahma", "Gongde Tian", "Good Talent", "Thirty -Three Days", such as "Great Brahma" Wait. Tang Zangzhongyun: "Foreign calling gods is also the heavens." The god of heaven flying in the air in Buddhism is called flying. Feitian draws more in the murals of Buddhist caves. In Taoism, Taoism refers to the mythical figures of feathers as "immortals", such as "leading fairy", "sky immortal", "red -footed immortal", etc., and the gods who can fly in the air are called Feixian. Essence Song "Taiping Royal Lan" Volume 622 quoted "Tianxianpin" Zhongyun: "Flying clouds, deity and light, thinking that heaven, also cloud flying fairy."
[Word meaning]:
1. Essence Tang Liyu's "Ri Fu": "At first go to the sea and melike it, the sky is flying and the light is big." Flying Dragon is a slight name. The metaphor of the king has the world, and there is a phenomenon of Longxing. "Yi · Qian": "Nine Five -Year Plan, Feilong is in heaven." Kong Yingda Shu: "If the saints have dragons, flying and living in heaven." The country. "
3. Buddhist murals or the gods flying in the air in stone carvings. Sanskrit is called "Ti Po". Because "Ti Po" has the meaning of heaven, it is translated as Feitian. Xu Chi "Gothbach Guess · Under the Qilian Mountains": "There is a lotus on the top of the cave. On the four corners, flying the sky soaring."
is the incarnation of the Buddhist daughter -in -law and tight Naluo. Qian Xun, the translation of the gods of heaven, tight Naluo, the meaning of the heavenly translation. Originally, the entertainment god and the singing and dance god in ancient Indian mythology were a couple, and were later absorbed as one of the gods of Tianlong. The task of Qian Xuan's mother was to exude aroma in the Buddha country, to present flowers and treasures for the Buddha, and to live in flowers, and flying in Tiangong. The task of tight Naluo is to play music, singing and dancing in the Buddhist country, but not flying in the sky. Later, Qian Po and Tinga Luo mixed each other. Men and women did not distinguish between men and women. Now, the early in Temple of Tiangong was called "Tiangong Music", and the "Flying Tiaoli" who later held the musical instrument and dance.
The style of Dunhuang Feitian is not long wings, no feathers, and relying on clouds without relying on clouds. Instead, the flying ribbon flies with a floating dress. There are all kinds of attitude, ever -changing. This is based on the traditional national tradition, absorbing and integrating the achievements of foreign flying art, and developing the image of Dunhuang Feitian.
The early Dunhuang Feitian draws more on the top of the cave, the top of the cave's top algae is decorated, and the upper edge of the Buddha and the main character of the story draws. During the Northern Wei Dynasty, the scope of Flying in Feitian has been expanded to the sides of the Buddhist altar. Although the image of Feitian still retains the characteristics of Feitian in the Western Regions, it has changed, and it has gradually changed to Dunhuang Feitian. For example, the rear part of the northern wall of the Northern Wei Dynasty 226 Launteria on the west side of the picture of the west side of the picture, the face shape changes from the ellipse to the long but plump, the nose is small, the facial features are long, the figure is long, the dresses are floating, the empty flying, the pride and generous generous generosity , Flying cranes, flowers fragrant, beautiful posture, and strong dynamic. The Sui Dynasty Feitian was in a period of integration, exploration, and innovation. It is mainly manifested in different body shapes, long body, moderate proportion, soft waist position, and rough. Some face shapes are beautiful, some are rich. Different clothes are different. There are half -naked upper body, with big sleeve robes, and those who wear short -lined robes. There are different flying states, there are single flying, some flying, some flying, flying, flying against the wind, flying down the wind ... In the Tang Dynasty, Dunhuang Feitian had completed the process of absorption and integration of Chinese and foreign, completely forming its own unique style, reaching the peak of art. The four mules of the Tang Dynasty caves are full of large -scale transformation. Feitian is not only painted in algae, Buddhist altars, and four places, most of them are painted in the transformation of the scriptures. The Buddha said in the middle of the bliss world that the flying sky was flying around, and some of the foot colored clouds and landed slowly; Traveling. The ribbon ribbon rolled in the wind and swinging, how light, clever, and charming. The Fifth Dynasties and Songs after the Song Dynasty were innovative in the dynamic shape, and gradually moved towards formulating. Although the characteristics of Feitian are different, the generation is not as good as the first generation, and gradually loses its original artistic life.
Fessia painted in the tomb murals, symbolizing the soul of the owner of the tomb to rises to the sky. After the introduction of Buddhism into China, it was integrated with Taoism in China. During the Wei, Jin and Northern and Southern Dynasties, which was short long after Buddhism, the flying sky in the murals was also called Feixian, which was not distinguished by Feitian and Feixian. With the in -depth development of Buddhism in China, although Buddhist Feitian and Taoist Feixian blended with each other, but in terms of names, only the air flying gods in the murals of Buddhist caves into Feitian. Dunhuang Feitian is the flying god painted in the Dunhuang Grottoes, and later became a special term for Dunhuang mural art.
It Dunhuang Feitian said from the artistic image that it is not a cultural artistic image, but a complex of multiple culture. Although the hometown of Feitian was in India, Dunhuang Feitian was jointly bred by Indian culture, Western region culture, and Central Plains culture. It is the long -term exchanges and incidents of the Indian Buddhist heaven and Chinese Taoist feathers, the Western Regions Feitian, and the Central Plains Feitian, and have the characteristics of Chinese cultural characteristics. It is a non -long -winged pound without feathers, no round light, and relying on colorful clouds with the help of color clouds. It is mainly flying in the sky with floating dresses and flying ribbons. Dunhuang Feitian can be said to be the most genius creation of Chinese artists and a miracle in the history of world art.
has been from the north of the Sixteen Kingdoms to the Northern Wei Dynasty. For more than 170 years, Dunhuang Feitian was deeply influenced by the Flying of India and the Western Regions during this period. But the characteristics of the two dynasties in this period were slightly different. The flying sky was painted at the top of the cave on the top of the cave. During the decoration of the cave's top algae well, the upper edge of the Buddhist nats and the main body of the story of the story were painted. Its shape and artistic characteristics are: round light, elliptical face, straight nose, big eyes, large ears, earrings rings, round buns, or wearing or vines, or Indian five jewelry crowns. The upper body is half naked, the waist is wrapped in long skirts, and the shoulder is covered with a large towel. Due to the discoloration of blooming techniques, it becomes a white nose bridge, white -eyed beads, and the flying sky in the western turtlezi. look alike.
The most northern Wei -style flying sky is the two flying sky above the story of the "Bada Kings" painting on the north wall of Cave 254 and the two flying sky above the rear of the rear of the north wall of Cave 260. The prominent features of these four bodies are: round light, wearing Indian five jewelry crowns, long face shape, because of color change, becoming white nose bridge, white circles, small -character faces. The upper body is half -naked, the legs are long, and the "U" shape of the big opening. The dresses were floating, the towels were flying, flying across the air, and the smallpoints were flying around. Although the flesh and ribbon of Flying have changed color, the slopping and lines of the skirt ribbon are very clear. The flying sky is dynamic and powerful, and the posture is free.
has been from the Western Wei Dynasty to the Sui Dynasty for more than 80 years. Dunhuang Feitian during this period is in the Buddhist heaven and Taoist feathers. The stage of communicating with the Central Plains Feixian in the western region, integration of each other, and innovation and change is the flying sky of China and the West. During the Western Wei Dynasty of the Mogao Grottoes, the painting position was generally the same as the Northern Wei Dynasty. It was only two different styles of flying in the Western Wei Dynasty. The Western -style Flying inherits the shape and painting style of Feitian of the Northern Wei Dynasty. The biggest changes are: as the dry mother -in -law of the incense god, Sanhua flying the sky and picked up various instruments flying in the air; as a song and dance god, the Tiangong trick, the sky was rushed out of the sky, and also flew out of the sky in the sky. Essence The two gods were integrated into one, and it became a subsequent flying sky, also called Sanhua Feitian and Glutter Flying. His representative works such as the four -body trick Flying in the west of the West Buddha of Cave 249
The Central Plains Flying is the period during the history of Wang Rong (Gu Dunhuang). A new type of flying in the Mogao Grottoes. This kind of flying is a flying sky with the fusion of Chinese Taoist Fei Xian and Hindu Flying: Chinese Taoist Fei Xian lost its feathers, bare upper body, neck decoration necklace, waist tied long skirts, shoulder wraps; India's Buddhism lost his head on his head The round light and the Indian treasure crown, the buns were bundled and put on the Taoist crown. The character's publicity is the "showcase" shape of the Central Plains, with a long figure, a thin neck, a wide forehead, a straight nose, a thin eyebrow, a thin eyebrow, a slightly smile on the corner of the mouth. Its most representative is the twelve -body flying sky on the top of the south wall of Cave 282.这十二身飞天，头束双髻，上体裸露，腰系长裙，肩披彩带，身材修长，成大开口横弓字形，逆风飞翔，分别演奏腰鼓、拍板、长笛、横箫、芦笙、 Pipa, Ruan Xian, 乐 乐. Four weeks of flowers rotate, clouds fluttering, setting off the flying sky and flying to the wind, as light as a swallow, taking pictures of each other, free and joyful, roaming space.
The northern Zhou Dynasty is a minority regime established by the Xianbei people in the northwest. Although the period of rule is short, many caves have been built in Mogao Grottoes. The ruler of the Xianbei tribes believes in Buddhism and is in the western region. Therefore, the Western -style flying sky appears again. This new flying sky has the style of flying sky such as Guizi, Kizil, etc., round, strong, and legs. Short, rounded head, wearing Indian treasure crown, naked upper body, breast full of breasts, waist tied long skirts, shoulders around the towel strap. The most prominent is the face and body of the face and the body. Due to discoloration, five whites, white nose bridges, white orbits, and white chin. The flying posture became open "U", with a short body and simple dynamics, and almost returned to the characteristic characteristics of the painting style of flying in the Beiliang period of Mogao Grottoes. But the image was much richer than the Beiliang period, and there were many tricks.
The most northern Zhou -style flying sky is the flying sky in Cave 290 and Cave 428. Flying in these two caves. Strong body, round face, round head, wearing Indian treasure crown, facial features have five white characteristics, naked upper body, long waist tie skirts, shoulders around the towel, the body is stained with thick and uneven, and now due to the color change and the cord of the cord, the cord of the cord of the breast is rounded and the umbilical cord More prominent. The trick in the 428th cave is rich in shape, or the shape is rich, or the pipa is played, or the bounce, or blowing the flute, or hitting the waist drums, vivid image and beautiful posture. Especially the flying sky on the west side of the south wall, holding a whistle with both hands, kicking the purple gold crown in both feet, flying from the body, the four weeks of ceiling falls, and its flying posture, like a light swallow dive down. The Sui Dynasty was the era with the most flying days in Mogao Grottoes, and it was also the era with the most types of flying sky and the most abundant gesture. In addition to the position of the Sui Dynasty in the Northern Dynasties, Feitian was mainly painted around the top of the top of the cave, the upper layers of the cave, and the inside and outside the west wall Buddha. Most of the group appeared. Same. Regional characteristics are different. In the Sui Dynasty cave, there are both Western -style flying sky and Central Plains Flying, and it is also a combination of Chinese and Western.
The face shape is different, the face shape is rich and round, and there are beautiful types; the figure is robust and long. However, most of them are slender, with moderate proportion, soft waist, and generous. The clothing crown and clothing are different, some are half naked on the upper body, and there are Zhang Zhi; some wearing sleeveless skirts, as well as wide -sleeved long skirts; some wearing treasure crowns, buns, and bald monks Flying sky. The flying posture is different, some fly, some are flying, some are flying smoothly, some are flying against the wind, there are single flying, and there are group flying, but the posture of the flight is no longer in the "U" type. The body stretches freely. Generally speaking, Feitian of the Sui Dynasty was in a period of communication, integration, exploration, and innovation. The general trend is to develop in the direction of Sinicization, laying the foundation for the complete Sinicization of the Tang Dynasty. The most beautiful flying sky is the flying sky of Cave 427 and Cave 404. Cave 427 is one of the large caves in the Sui Dynasty. It is also the cave with the most flying sky in the Sui Dynasty. The four walls on the four walls of this cave are flying around the Cave on the wall of the Temple Palace, with a total of 108 body. These 108 flying sky, all wearing treasure crowns, half -naked upper body, naked decoration, handbriet, long waist, long skirts, shoulders around the ribbon, mostly the legacy of Flying in the Western Regions and the heritage of clothing. Although the skin tone has become dark, the image is still very clear. Flying around the cave. Its attitude, light body, fluttering long skirt, flying ribbons, and rolling wind. Around the sky, the flowing clouds fluttered, the flowers were flying, the dynamic was strong, and full of anger. Cave 404 is a medium -sized cave in the middle and late Sui Dynasty. The four walls of the cave are drawn along the wall of the Tiangong Palace, and the wall is flying around the cave for a week. Like the flying sky in Cave 427, there are different attitudes. Some are holding lotus flowers, some hands, and some of them are scattered, and some are holding various instruments.但在首饰服饰上有了很大的变化：头无圆光，不戴宝冠，有的束桃型仙人髻，有的束双环仙人髻，有的束仙童髻，脸为蛋形，眉清目Rice, slender figure, soft dresses, and long towel bandwidth. Clothing, face, and body are like flying in the early Tang Dynasty.
The Tang Dynasty throughout the Tang Dynasty, about 300 years. Dunhuang Feitian continued to absorb the ingredients of Feitian in India on the basis of the culture and art of the nation, integrating the achievements of Feitian in the Western Regions and Central Plains, and developing creation. From the sixteenth countries, after the five dynasties of the Beiliang, the Northern Wei, the Western Wei Dynasty, the Northern Zhou Dynasty, and the Sui Dynasty, in a century, it completed the process of communicating, absorbing, fusion, and completing the Chineseization process of Dunhuang Feitian, East and West, North and South. In the Tang Dynasty, Dunhuang Feitian entered the maturity period, and the artistic image reached the most perfect stage. Dunhuang Feitian in this period has rarely the style of India and the Western Regions, which is a completely Sinicized flying sky.
The Tang Dynasty was the largest dynasty in Mogao Grottoes, and almost all the walls in the cave were occupied by large -scale transformation. Feitian is also mainly painted in large -scale transformations. In terms of subject matter, on the one hand, the scene of the Buddha's statement in the large -scale transformation paintings, scattered flowers, singing and dancing, praise for offering; on the other hand, the large -scale transformation of the Buddhist country of the Buddha -"Pure Land of the West", "Pure Eastern Pure Land" and other The joy of the bliss world. Feitian flying around the Buddha's head, or flying above the bliss world, some football clouds, slowly landing; some heads up and empty; some hold flowers and rush straight into the clouds; Traveling in the sky. The floating dresses, the flying roll belt, is really like the Tang Dynasty poet Li Baiyong praised the fairy poem: "The hands of the hibiscus, the virtual step is too much.
The tombists of the Dunhuang Research Institute divided the Tang Dynasty art of Dunhuang Grottoes into four stages: the Early Tang Dynasty, the Tang Dynasty, the Middle Tang Dynasty, and the Late Tang Dynasty. The four stages are divided into two periods before and after: early and prosperous Tang Dynasty, that is, the Tang Dynasty directly ruled the Dunhuang area buried (618-781 AD); , And Hexi Guijun Jiedushi Jun Zhang's jurisdiction of the Dunhuang area (AD 781-907). The artistic style best reflects the political, economic, and social forms of the times. Feitian in the early Tang Dynasty was striving for progress, powerful, powerful, unrestrained, and strange. The beauty of flying endlessly. This is consistent with the spirit of enlightened politics in the Tang Dynasty, strong national strength, prosperous economy, rich culture, and openness of openness. The most characteristic of the characteristics of the early Tang Dynasty style is Shuang Feitian, which is painted in Cave 321 in the early Tang Dynasty, and the four flying sky in Cave 320 of the Tang Dynasty.
The two sides of the west of the western Buddhist altar on both sides of the western Buddha. These two are quiet, and the flying attitude is very beautiful. Although the face and body of Feitian have become black, the outline, physical gesture, and dress straps are very clear: the body is repairing, the chest is tall, the legs are raised, and the legs are raised. Both hands are scattered, and the dresses are stretched with the wind. From top to bottom, they fell slowly, like two swallows flying in the air, showing the beauty of chic and light flight. The four flying sky paintings of Cave 320 are above the top of Amitabha's head in the "Western Pure Land Change" in the south wall. On each side, in the form of symmetrical, we chase each other: one in front, raised his hands to disperse flowers, recalcile back, raising his arms and chasing. The rear rear should show a spiritual realm and the beauty of flying and the beauty of flying. Around the flying sky, the colorful clouds floated, and the fragrant flowers fell, which showed not only to support the Buddha, but also the freedom and joy of the Buddhist paradise. Although the flesh of Feitian has become dark and the face is unclear, the overall image is clear, the body is slender, the posture is light, the human body proportion is accurate, the lines are smooth and powerful, and the color is rich and rich.
Itt in the late Tang Dynasty, there was no piercing spirit and free and joyful emotions in the moment and attitude. In terms of artistic shapes, the clothes have changed from gorgeous and rich to elegant and light, and the human body has changed from plump and delicate to thin and simple. The expression has changed from excitement and joy to peace and worry. Among them, the most representative is the flying sky above the large -scale "Nirvana Meridity" map in the west wall of the 158th of the Mid -Tang Dynasty. Some are holding flowers, some holding the crickets, some of them, some of them, some of them play the flute, some raised their hands to disperse flowers, and provide the Buddha for support. But the expression was calm and there was no sense of joy. In the solemn expression, it revealed the sad and sorrowful expression, which reflected a religious realm of "the sadness of heaven and man". When the worries and the Tubo nation ruled the Dunhuang area at that time, the lawsuit begging the gods and Buddhas to be begging the Buddha to return to Datang. In the quiet sky, located on the north side of Baogai, the posture expression was the most expressive. His flying posture, his head was holding his chest, holding his hands, raised his legs, surrounded by the cover, from top to bottom, gently fell, and his back was flying on his back. The clothing is elegant, the flesh is only drawn with a thread, the eyebrows are beautiful, the expression is solemn, and it is slightly worried. The flying gesture is no longer as excited and light as early as the Tang Dynasty.
It for the fifth generation to the Yuan Dynasty, including the Five Dynasties, Song Dynasty, Xixia, and Yuan Dynasty for about 460 years. Dunhuang Feitian inherited the Yu Xu of the Tang Dynasty during this period. There was no change in innovation in the Sui Dynasty, and the aggressive spirit in the Tang Dynasty. Although Feitian's artistic level and style characteristics are different, one generation is not as good as a generation, and gradually promotes the original artistic life. The flying styles of these four dynasties are now briefly described as follows: The Five Dynasties and the Northern Song Dynasty were the period when the Cao's regime of the Hexi Gui Army of Hexi jurisdiction over the Dunhuang area. During this period, Feitian inherited the Yufeng of the Tang Dynasty, but there was no innovative work, and the flying was losing money. However, the Cao's regime has believed in Buddhism and rebuilt a large number of caves in the Mogao Grottoes and Yulin Caves, and has a painting academy to hire some famous painters at the time to inherit the characteristics of the Tang Dynasty. Leave some superior flying works. Its representative works are flying sky in Cave 16 and Mogao Cave 327. Yulin Cave 16 cave 16 is a cave in the early fifth generation. The flying sky painted in the cave. Although there is no vivid and lively participants in the Tang Dynasty Feitian, it has this craftsmanship, but the decorative nature is very good. For example, a flying sky in this cave is perfectly painted, and the two are perfectly painted. The chest decorated, the arm is decorated with a bracelet, the waist is a long skirt, the feet are exposed, and the hands are familiar with the piano string, with an elegant posture. Its biggest feature is that the flying towel band is three times long. The flying towel belt is floating in the middle of the flowers. There is a color cloud flowing under the flying towel belt. Very decorative.
. Cave 327 is a cave in the late Song Dynasty in the Mogao Grottoes. The top of the cave is drawn along the drew one week. The east slopes are flying in the north, and the image attitude is perfect. Both of the two are buns, wearing pearls, naked upper body, naked, Xie Jie, arms decorated with treasures, full of face, beautiful eyebrows. He is holding a bouquet and a handsome head, blooming on the wall of the Tiangongrang, flying against the wind, floating skirts, long flying, flying on the sky, flowers falling under the sky, colorful clouds, although there is no Tang Dynasty flying sky, no Tang Dynasty flying sky. The momentum, but its flight dynamics is also very vivid, it can be said to be the representative work of Feitian in the Song Dynasty.
Is are a minority regime established by the party's words in the northwest. The flying sky in the Xixia period of Mogao Grottoes, part of the style of the Song Dynasty, some of them had the unique style of Xixia. The biggest feature is that the style and folk characteristics of the Xixia party are incorporated into the image of Feitian. The face is round, the cheeks are drums, the eyes are deep, the body is strong, wearing leather clothes, decorated with pearls, and strong secularity. The representative is the boy flying in Cave 97. On the inside of the Buddhist altar of the west wall of this cave, a boy is scattered in the sky, the image, gesture, and clothes are the same: the top of the head is bald, the braids are combed on both sides, the eyebrows are rounded, the corners of the eyes are upturned, the lips and cheeks, the muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles, muscles Full and strong. The arms decorative bead bracelets, the waist -beasts, the belly around the beast, and the short leather boots of the feet. Hold the lotus, hold the flower plate with one hand, bent with one leg, raised one leg, flying from top to bottom. The ribbon was flying on the back, and the flying momentum was not strong. There are no early flying sky -the expression of the gods of the Buddha and the god of the song, and there is no charm of the Tang Dynasty flying. If you wipe out the towel belt on the arm and there are colorful clouds, it is a boy dressed as a party. From the perspective of character image, hair style, and clothing, the characteristics and living styles of the Xixia party group are all shown.
The Mongolian rule in the Dunhuang area during the Yuan Dynasty, and there were very few caves that were rebuilt in Mogao Grottoes and Yulin Caves. Tantrics are popular in the Yuan Dynasty, divided into hidden secrets and Hanki. There is no flying sky in the art of Tibetan Tantra, and there are not many flying sky in the art of Han Tantra. Among them, the representative is the four -body flying sky on the two corners above the south wall of the 3rd Cave and the north wall of the "Thousands of Hands and Thousands of Eyes".这两身飞天相向对称，形象、姿态、衣饰基本相似，头梳锥髻、戴珠冠，脸形丰圆，长眉秀眼，上体半裸，项饰璎珞，臂饰宝钏，一手托莲花, Holding the lotus branch on the stubbornness, the yellow roll cloud drops from the air, the dresses are short, the body is heavy, and the flying dynamic is not strong. There is no gesture of Buddhist flying, but like two Taoist fairy children flying by clouds. Dunhuang Feitian has gone through more than a thousand years, showing different characteristics and national styles, many beautiful images, joyful realms, and eternal artistic vitality still attract people. The article said: "They have not perished with the past, and they are still alive. In the new song and dance, in the murals, the articles (trademarks, advertisements) have the image of flying everywhere. It should be said that they have come from heaven It will live in people's hearts forever, and keep giving people enlightenment and beauty. "

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