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Xu GSA
LV . 1 2009- 1 1-22
Mogao Grottoes
Mogao Grottoes belong to the national key cultural relics protection units, commonly known as Thousand Buddha Cave. Dunhuang, located at the western end of Hexi Corridor, is famous for its exquisite murals and statues. It was founded in the Sixteen Kingdoms period before Qin Dynasty, and has formed a huge scale after the Sixteen Kingdoms, Northern Dynasties, Sui, Tang, Five Dynasties, Xixia and Yuan Dynasties. There are 735 caves, 45,000 square meters of murals and 24 15 clay sculptures. It is the largest and richest Buddhist art shrine in the world. In modern times, the Tibetan Sutra Cave was discovered, containing more than 50,000 ancient cultural relics, from which the subject of Dunhuang studies was derived, which specialized in studying the classics of the Tibetan Sutra Cave and Dunhuang art. However, in modern times, the Mogao Grottoes were cheated and stolen, a large number of cultural relics were lost, and its treasures were seriously damaged. 196 1 year, the State Council, People's Republic of China (PRC) announced the Mogao grottoes as one of the first batch of national key cultural relics protection units. 1987, Mogao grottoes was listed as a world cultural heritage. It is one of the four largest grottoes in China, with the same name as Longmen Grottoes, Yungang Grottoes and Maijishan Grottoes.
Mogao Grottoes belong to the national key cultural relics protection units, commonly known as Thousand Buddha Cave. Dunhuang, located at the western end of Hexi Corridor, is famous for its exquisite murals and statues. It was founded in the Sixteen Kingdoms period before Qin Dynasty, and has formed a huge scale after the Sixteen Kingdoms, Northern Dynasties, Sui, Tang, Five Dynasties, Xixia and Yuan Dynasties. There are 735 existing caves, 45,000 square meters of murals and 24 15 clay sculptures, which are the largest and richest Buddhist art sites in the world. In modern times, the Tibetan Sutra Cave was discovered, containing more than 50,000 ancient cultural relics, and a discipline specialized in studying Tibetan Sutra Cave classics and Dunhuang art-Dunhuang studies was derived. However, the Mogao Grottoes were destroyed by many people in modern times, and a large number of cultural relics were lost, and its integrity was seriously damaged. 196 1 year, the State Council, People's Republic of China (PRC) announced the Mogao grottoes as one of the first batch of national key cultural relics protection units. 1987, Mogao grottoes was listed as a world cultural heritage.
The Mogao Grottoes is located on the cliff at the eastern foot of Mingsha Mountain, 25km southeast of Dunhuang City, Gansu Province, China, facing east in front of Dangquan River, with a length of1680m from north to south and a height of 50m. The caves are strewn at random, row upon row, up and down to five floors. It was built in the Sixteen Kingdoms period. According to the Tang Dynasty's "Li Kerang Rebuilding the Monument of Mogao Grottoes", in 366, two years before the founding of the Qin Dynasty, monks passed this mountain and suddenly saw the golden light shining like a million buddhas, so they dug the first cave on the rock wall. Since then, Zen master Fa Liang and others have continued to build caves here to practice, which are called "desert grottoes", meaning "high places in the desert". Later generations renamed it "Mogao Grottoes" because of the common "desert" and "Mo". During the Northern Wei, Western Wei and Northern Zhou Dynasties, the rulers believed in Buddhism, and the construction of grottoes was supported by princes and nobles, which developed rapidly. During the Sui and Tang Dynasties, with the prosperity of the Silk Road, the Mogao Grottoes flourished, and there were more than a thousand caves in Wu Zetian. After the Anshi Rebellion, Dunhuang was occupied by Tubo and Guiyi Army successively, but the carving activities were not greatly affected. In the Northern Song Dynasty, Xixia and Yuan Dynasty, the Mogao Grottoes gradually declined, and only the caves of the previous dynasties were rebuilt, with few new buildings. After the Yuan Dynasty, with the abandonment of the Silk Road, the construction of the Mogao Grottoes stopped and gradually disappeared into the world's field of vision. It was not until the fortieth year of Kangxi in Qing Dynasty (170 1) that people paid attention to it again. In modern times, people usually call it "Thousand Buddha Cave".
There are 735 caves in the Mogao Grottoes from the Northern Wei Dynasty to the Yuan Dynasty, which are divided into north and south areas. The Southern District is the main body of the Mogao Grottoes, where monks engage in religious activities. There are 487 caves with murals or statues. There are 248 caves in the North District, of which only five have murals or statues, and the rest are places where monks practice, live and bury after death, with living facilities such as heatable adobe sleeping platform, stove kang, flue, niche and desk lamp. There are murals and statues in 492 caves in the two districts, including 45,000 square meters of murals, 24 15 clay sculptures, 5 wooden cornices in Tang and Song Dynasties, and thousands of lotus columns and floor tiles.
Edit the artistic features of this passage.
Mogao Grottoes is a large-scale cave temple with murals as the main part and statues as the auxiliary part, which integrates painting, sculpture and architectural art. Its grottoes mainly include Zen Grottoes, Central Pagoda Grottoes, Palace Grottoes, Central Buddhist Grottoes, Four-walled Three-niche Grottoes, Elephant Grottoes and Nirvana Grottoes. The size of caves varies greatly, with the largest cave 16 reaching 268 square meters and the smallest cave 37 less than one foot high. The original wooden temples outside the grottoes were connected by cloisters and plank roads, but many of them no longer exist.
The murals of Mogao Grottoes are painted on the walls, roofs and shrines of the caves, with profound contents, including seven themes, such as Buddha statues, Buddhist stories, Buddhist historical sites, changes, immortals, patrons and decorative patterns. In addition, there are many paintings that show all aspects of social life at that time, such as hunting, farming, textiles, transportation, war, architecture, dancing, weddings and funerals. Some of these paintings are magnificent and magnificent, reflecting the artistic styles and characteristics of different periods. Most of China's paintings before the Five Dynasties have been lost. The murals in the Mogao Grottoes provide important objects for studying the art history of China and extremely valuable images and patterns for studying the ancient customs of China. According to calculation, if these murals are arranged at a height of 2 meters, they can be arranged for up to 25 kilometers.
The cliff where the Mogao Grottoes are located has soft soil and is not suitable for making stone carvings. Therefore, the statues of Mogao Grottoes are all made of wooden bones except four giant buddhas made of stone tires. Statues are Buddhist gods and Buddhists, and there are many combinations such as single portrait and collective portrait. Group images are generally centered on the Buddha, with disciples and bodhisattvas standing on both sides, ranging from 3 to 1 1. Color plastic forms include round plastic, floating plastic, shadow plastic and fine plastic. These statues are exquisite, vivid, imaginative and highly accomplished, which complement each other with murals.
It is a nine-story canopy, also known as the "North Elephant", which is in the middle of the cliff cave, as high as the cliff top and magnificent. Its wood structure is red, the eaves are high, the outline is patchy, and the eaves ring with the wind. In the meantime, there is a sitting statue of Maitreya Buddha, 35.6 meters high, painted with stone tires and clay sculptures. It is the third largest sitting Buddha in China after Leshan Giant Buddha and Rongxian Giant Buddha. The space for accommodating the giant Buddha is large at the bottom and small at the top, and the plane is square. There are two passages outside the building, which can not only be used to watch the nearby giant Buddha, but also be used as the light source for the head and waist of the giant Buddha. The eaves of this cave existed before the first year of Tang Wende (888), when it was five stories. In the fourth year of Gande in the Northern Song Dynasty (966) and rebuilt in the Qing Dynasty, it was changed to four floors. 1935 was rebuilt again, forming the current 9-story model.
On the murals of Mogao Grottoes, beautiful flying can be seen everywhere-the urban sculpture of Dunhuang is also the image of a flying fairy playing the lute. Tian Fei is a god who serves Buddha and Indra, and he can sing and dance well. On the wall, flying in the vast universe, some holding lotus buds, straight into the sky; Some swooped down from the air like meteors; Some pass through tall buildings, just like Youlong; Others roll with the wind, carefree. The painter presents a beautiful and ethereal imaginary world to people with his unique tortuous long line and harmonious interest.
Gorgeous colors and flying lines, in these northwest painters' passionate and emotional descriptions of the ideal heaven, we seem to feel their inexhaustible passion for galloping in the desert wasteland. Perhaps it is this passion that breeds the imagination advertised in murals!
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There are 492 grottoes with murals and carvings in Mogao Grottoes, which can be roughly divided into four periods: Northern Dynasty, Sui and Tang Dynasties, Five Dynasties and Two Song Dynasties, Xixia and Yuan Dynasty.
There were 36 caves dug in the Northern Dynasties, among which the earliest caves 268, 272 and 275 were probably built in Beiliang. Grottoes mainly include Zen Grottoes, Central Pagoda Grottoes and Palace Grottoes. There are two kinds of colored sculptures: round sculptures and shadow sculptures. The contents of murals include Buddha statues, Buddhist stories, monsters and patrons. Shadow sculptures in this period were mainly flying in the sky, offering sacrifices to bodhisattvas and thousands of buddhas. At first, most of the round carvings were a combination of one Buddha and two bodhisattvas, and later two disciples were added. The characters in the statue are vigorous, dignified and quiet, with simple and heavy style. Early murals were based on earth red, and then painted with green and white. The colors are warm and heavy, the lines are simple and vigorous, and the figures are tall and straight, which has the characteristics of Buddhism in the western regions. After the Western Wei Dynasty, the background color was mostly white, the tone tended to be elegant, the style was free and easy, and it had the wind of the Central Plains. Typical caves are Cave 249, Cave 259, Cave 285 and Cave 428. For example, in Cave 243, the Buddhist Muny of the Northern Wei Dynasty sits upright, wears an Indian cassock, and has a flat bun on his head, retaining the Gandhara style.
The Sui and Tang Dynasties were the heyday of the development of Mogao Grottoes, with more than 300 existing caves. Zen Grottoes and Central Pagoda Grottoes gradually disappeared during this period, but at the same time, a large number of forms appeared, such as palace grottoes, Buddhist altar grottoes, four-walled three-niche grottoes and elephant grottoes, among which the number of palace grottoes was the largest. Statues are all round plastic, with rich and full shapes and more original styles, and there are tall statues that were not available in the previous generation. Most of the group images consist of seven or nine statues. There were mainly one Buddha, two disciples, two bodhisattvas or four bodhisattvas in the Sui Dynasty. In the Tang dynasty, there were mainly one Buddha, two disciples, two bodhisattvas and two heavenly kings, and some of them added two Lu. The murals of Mogao Grottoes in this period have rich themes, magnificent scenes and magnificent colors, and their artistic skills have reached an unprecedented level. Such as the style of the threatened bodhisattva statue in Cave 79 made in the middle of the Tang Dynasty. Bare upper body, half kneeling posture. The two pieces of spiral bun folded on the head are the hairstyles of ordinary people in the Tang Dynasty. The muscles of the face and limbs are round, pastel, fair-skinned, and the expression is easy-going and gentle. Although there is an Indian red hemorrhoid on his forehead, it is more like a real person in life. And in Cave 159, it is also a mighty bodhisattva. One is naked, tying a knot obliquely, with his right hand raised, his left hand drooping, his head slightly tilted to the right, his upper body slightly tilted to the left, and his crotch protruding to the right, which not only maintained balance, but also showed a female figure. The other bodhisattva is fully clothed, and the inner and outer layers are clearly displayed, revealing the body structure clearly. The clothes have smooth lines, bright colors, coordinated configuration, slender figure and appropriate proportion, which makes people feel that they are two "lifelike statues" and full of vitality.
There were more than 100 caves in the Five Dynasties and the Song Dynasty, most of which were reconstructed and redrawn in the previous dynasty, and their shapes were mainly Buddhist temples and temples. From the late Tang Dynasty to the Five Dynasties, the Zhang family and Cao Shi family who ruled Dunhuang believed in Buddhism and made great contributions to the Mogao Grottoes. Therefore, a large number of portraits of patrons appeared at this stage, and the content was rich. Statues and murals all followed the style of the late Tang Dynasty, but in the later period, their forms became more formulaic and the level of artistic skills declined. The typical grottoes in this period are 6 1 grottoes and 98 grottoes, among which the largest mural in Mogao grottoes, Wutai Mountain Map 6 1 grottoes, is 5m high and 13.5m long, depicting the mountains and rivers, temples, pavilions and pavilions around Wutai Mountain in Shanxi, with great momentum.
There are 85 caves in Xixia and Yuan Dynasty in Mogao Grottoes. There are 77 caves in Xixia, most of which are caves of the previous dynasty. Cave shapes and mural carvings basically follow the style of the previous dynasty. The image of Uighur king appeared in some caves in the middle period of Xixia, which may be related to Uighur. In the late Xixia period, Tibetan tantric content appeared in murals. There were only eight caves in the Yuan Dynasty, all of which were newly excavated, with the shape of a square cave and a circular altar. Murals and sculptures are basically related to Tibetan tantra. Typical caves are Cave 3, Cave 6 1 and Cave 465.
A cave where Buddhist scriptures are preserved
/kloc-in 0/900, the Taoist king who lived in the Mogao grottoes carried out a large-scale cleaning in order to transform some abandoned caves into Taoist temples. He happened to find a small door on the wall of the tunnel on the north side when he was cleaning the mud for Cave 16 (now numbered). After it was opened, a square cave room (now cave 17) appeared, which spanned from the 4th century to 1 1 century (that is, sixteen countries to sixteen countries).
The inner wall of the Tibetan Sutra Cave is painted with images of bodhi trees and monks and nuns. Among them, there is a Zen-bed-style low altar with a monk sitting on it and a stone tablet, which seems unfinished. Judging from the documents unearthed in the cave, the latest one was written in the Northern Song Dynasty without Xixia characters. Therefore, it can be inferred that the Tibetan Sutra Cave was closed by the monks of Mogao Grottoes in the 20th century to avoid the Xixia army.
Buddhist scriptures in Mogao Grottoes are very important discoveries in the archaeological history of China. Most unearthed documents are written, and a few are engraved. About five-sixths of them are written in Chinese, and others are in ancient Tibetan, Sanskrit, Qilu, Sogdian, Hehe, Qiuci and so on. The contents of the literature are mainly Buddhist scriptures, in addition to Taoist scriptures, Confucian classics, novels, poems, historical records, cadastres, account books, calendars, deeds, letters, plays and so on. Many of them are unique, unique. These are of great historical data and scientific value to the study of the history of China and Central Asia, and thus form a discipline-Dunhuang studies, which focuses on the study of Tibetan scriptures and the art of Dunhuang grottoes.
Damage situation
The Mogao Grottoes were little known after the Yuan Dynasty, and remained basically the same for hundreds of years. However, after the discovery of the Sutra Cave, it immediately attracted many western archaeologists and explorers. They obtained a large number of precious books and murals from the king at a very low price, and transported them out of China or scattered among the people, which seriously damaged the integrity of the Mogao Grottoes and Dunhuang art
1907, British archaeologist marc aurel stein traveled to Dunhuang along the ancient Silk Road south of Lop Nur on his second archaeological trip to Central Asia. When he heard that the cave of Tibetan scriptures had been discovered in the Mogao Grottoes, he found the king and expressed his willingness to help build the Taoist temple, which won the trust of the king. So Stan was allowed to enter the Tibetan Sutra Cave to select documents. He finally took away 24 boxes of notebooks and 5 boxes of other artworks with only 200 taels of silver. 19 14, stein came to the Mogao grottoes again and bought 570 Dunhuang documents from the king for 500 taels of silver. Most of these collections were donated to the British Museum and some museums in India. The British Museum now has about13,700 Dunhuang-related collections, making it the largest museum in the world with Dunhuang cultural relics. However, in recent years, it has been criticized for its poor protection of China's cultural relics and even its theft.