Flying in the sky and playing the pipa are very distinctive artistic expressions in Dunhuang culture. Flying in the sky, Sanskrit is called Xiang Shen, and Buddhist scriptures are called "Heaven and Man". They usually go around the Buddha like hardworking bees, either guarding the Buddha or waiting for his orders. Because of their wings, they may be more efficient.
The flying image in China's murals of the Han Dynasty still has wings. In the Tang dynasty, the wings were gone, and they were replaced by ribbons with classical characteristics. With the characteristics of the Tang Dynasty, it has a plump figure, winding down from the sky, fluttering ribbons, falling clouds and full of movement. It symbolizes freedom, happiness, auspiciousness and happiness, and is deeply loved by painters. Zhang Daqian painted many images of flying, although the controversy is not small.
In addition to flying in the sky, playing the pipa is also a recurring artistic image in Dunhuang murals. Rebound pipa has appeared in murals more than once. It appeared in cave paintings involving the Five Dynasties, the prosperous Tang Dynasty, the middle Tang Dynasty and the Song Dynasty. We understand the "rebounding pipa" in Dunhuang murals from two aspects.
Judging from the dance movements, playing pipa is obviously a performance form that can play and jump. The dancer holds the strings high with his left hand, raises the strings backwards with his right hand, puts his left foot on the ground, and sucks his legs backwards with his right foot. His body is S-shaped with the waist as the center.
It can be clearly seen from the dance movements on the murals that it is different from the China classical dance or folk dance in the general sense, but has a strong religious color and foreign culture.
China's traditional dances are mostly modest and conservative, with few foot movements, and they are used to expressing with upper limb language. Hand movements account for almost 50% in the dance, and there are not many exaggerated and substantial jumping movements.
In a word, China's traditional dance posture in many cases reflects an inner aesthetic feeling, the rhythm of action and the beauty of form and spirit. Moreover, dance costumes are relatively conservative and will not directly expose people's skin. Its oriental artistic charm lies in "revealing in hiding, revealing in hiding".
The common characteristics of western dance are mainly manifested in the expression of temperament. What dancers show is the formal beauty of their posture, and generally there is no special spiritual implication. What they show is more of an individual's temperament and beauty, as well as unrestrained feelings for the yearning for freedom and flight. Such as ballet, waltz, flamenco, blues, etc.
But all roads lead to the same goal, and both eastern and western dances are influenced by their own unique history and culture. As a dance movement, playing pipa combines the characteristics of eastern and western cultures.
First of all, from the perspective of dance costumes, the dancer's upper body is almost naked, the lower body is equipped with pants, and her feet are exposed. The dance image does not conform to the traditional conservative image, but the ribbon on the dancer has classical characteristics.
Secondly, from the dancer's movements, it presents S-shaped lines. "Desire before desire" and "Always to the left and always to the right" are the dynamic rhythms used in China's dance. Oriental classical dance has a beautiful posture in an instant, generally, the head, shoulders, chest, hips, knees and ankles should twist in different directions, thus forming an S line. In the mural, the dancer's limbs are bent, supported by one leg, sticking out of the crotch, and hooked by the other foot, highlighting the whole figure "circle", including props.
In addition, we see that the decorations below the dancers' knees and the necklaces around their necks are symbols of Buddhist lotus. Ears and accessories on ears, including dancers' demeanor and color matching of accessories, are full of strong Buddhist culture. The naked upper body also has corresponding religious stories in Buddhist culture.
Therefore, it can be said that the rebound of Pipa just witnessed the high degree of openness and integration of Tang Wenhua and the tolerance of the Tang people. The rebounding pipa is the eternal symbol of Tang Wenhua, "Backhand plucking the strings is free to play, and Tang Yun is lingering for thousands of years".
Artisans got rid of the shackles of traditional ideas and re-created in art, blending the flying culture of India, the Western Regions and the Central Plains. Compared with dancers, pipa plays a foil role here.
From the perspective of playing musical instruments, pipa frequently appeared in the murals of Han grottoes from the Northern Dynasties to the Sui and Tang Dynasties. Dancers hug the pipa, play sideways or tilt their heads. There are also many famous poems sung by poets in the Tang Dynasty, such as Pipa Trip by Bai Juyi, Pipa Dance's New Tune, Old Love in Guanshan by Wang Changling, and Night Glass of Wine, Promoting Pipa Drinking by William Wang. The implication is that the skill of using this instrument in the Tang Dynasty is also quite high, and playing the pipa does have the element of "showing off skills".
Pipa, as a plucked instrument, was also introduced to the mainland from India through Qiuci, which is located in the Xinjiang section of the Silk Road and is also a political and cultural center with developed economy. The grotto art in this place is older. Dunhuang Mogao Grottoes also have elements that can be absorbed and transformed for reference.
In Mahayana Buddhism in Han Dynasty, there were four law-abiding gods, called the Four Heavenly Kings. Among them, the heavenly kings of the East also hold pipa to show their compassion for the country and protect the country and all sentient beings. Pipa sound means to protect all beings.
Therefore, it is natural for artisans to introduce common popular musical instruments and pipa with religious color into murals, and at the same time draw the superb skills of the Tang people on pipa into them.
In short, as a performance form of playing music and dance, the rebound pipa combines superb playing skills, superb dance skills, elegant and charming gestures, religious colors and eastern and western cultures, all of which are concentrated on the dancers' shoulders, and it looks vigorous and harmonious.