Unveiling the Mystique of Dunhuang Flying Asparas: Symbols of Ancient Buddhist Art

The Celestial Dancers of Dunhuang: An Introduction to Flying Asparas

The Flying Asparas, ethereal and graceful, are the quintessential symbols of Dunhuang art. These captivating figures are not confined to a single cave but are found scattered throughout all 500 grottoes in the Dunhuang region, each telling a story of divine beauty and spiritual significance. They are an embodiment of Gandharva, the celestial musician god in charge of holy songs and dances, and Kimnara, the god responsible for entertainment in ancient mythology.

From Mythological Deities to Buddhist Icons: The Origins of Flying Asparas

Originally, Gandharva and Kimnara were distinct deities in Indian mythology – a divine husband and wife duo, masters of entertainment, song, and dance. Their narrative evolved as they were later converted by Buddha into Demi-Gods and Semi-Devils.

• Gandharva: Envisioned resting on flower petals and soaring through heavenly paradises, Gandharva's duties included spreading divine fragrance in the Buddhist world, presenting flowers to Buddhas, and offering treasures.

• Kimnara: Responsible for music and dance within the Buddhist realm, Kimnara, unlike Gandharva, was not initially permitted to fly in heaven.

Over time, the distinct identities of Gandharva and Kimnara merged. Gender and specific duties became indistinguishable, leading to their unified representation as the Flying Asparas. In earlier depictions, those playing music are often referred to as "Paradise Musicians," while those engaged in singing, dancing, and playing instruments are known as "Flying Asparas Musicians."

What Makes Dunhuang Flying Asparas Unique?

The most striking characteristic of the Dunhuang Flying Asparas is their wingless flight. Unlike Western depictions of angels, these celestial beings soar through the heavens not with wings or feathers, but with the elegant support of floating clothes and vibrant, flowing color ribbons. This artistic choice gives them a distinct, dynamic, and ethereal quality.

The Flying Asparas of Dunhuang are a testament to a rich artistic dialogue, developed from Chinese traditions while skillfully combining characteristics of both foreign and indigenous artistic expressions. Their forms and postures are incredibly diverse, numbering in the thousands, and have evolved significantly over different historical periods, often reflecting their role as decorative elements within the grottoes.

The Evolution of Flying Asparas Through Dynasties

The artistic representation of Flying Asparas was not static; it transformed across different eras, reflecting changing aesthetics and cultural influences.

Early Stage: Glimpses in the Grottoes

In the early periods, Dunhuang Flying Asparas were often depicted on the ceilings of the grottoes. For instance:

• No. 275 and No. 272 Grottoes: These feature Asparas with a halo, an oval face, and a relatively short, upper-naked body. They are adorned with a large scarf covering one shoulder and a long skirt. A distinctive feature is the white powder applied to their noses and eyes.

• Artistic Connections: These early figures bear a strong resemblance to the Flying Asparas found in the Guizi grottoes of Xinjiang in Western China, particularly in their facial expressions, flying postures, use of color, and line work.

The Tang Dynasty (618-907 AD): The Golden Age

The Tang Dynasty marked the zenith of artistic development for the Flying Asparas. During this era, after a comprehensive process of introducing, absorbing, and integrating foreign artistic styles, they formed their own unique and highly refined aesthetic.

• Prominence in Murals: Flying Asparas became a prominent feature in the large "Jingbian" murals (narrative paintings explaining Buddhist sutras) that adorned the walls of Tang Dynasty grottoes. They appeared not only in sunken panels, Buddhist niches, and on the four mantles of the cave ceilings but were most notably integrated into these Jingbian paintings.

• Dynamic Depictions: As Buddhas taught their doctrines in the center of these "Pure Land" depictions, Flying Asparas would be seen soaring attractively in the sky – nimble, delicate, and free, with their clothes swinging in the wind and colorful ribbons trailing elegantly.

• Emergence of Double Flying Asparas: The Tang Dynasty also saw the appearance of many "Double Flying Asparas." A notable example can be found in Grotto No. 321, on the southern side of the upper part of the Buddhist niche on the western wall. Here, dual-bodied Flying Asparas fly gracefully. Despite some darkening of their complexion over time, their outlines and dynamic postures – tall, slim, with heads up and straight bodies, scattering flowers from the sky – remain clearly discernible. Naked Flying Asparas and "Virgin" Flying Asparas also feature in these murals.
  

Post-Tang: Convention Over Innovation

After the Five Dynasties Period (907-960) and the Song Dynasty (960-1279), the depiction of Flying Asparas saw fewer novel postures, largely adhering to conventional patterns. While they retained different characteristics in various periods, they gradually lost some of the vibrant, original artistic life that defined their earlier representations.

The Enduring Legacy of Dunhuang Flying Asparas

The Dunhuang grottoes, preserving a vast and diverse collection of Flying Asparas from the 4th to the 14th century, stand as invaluable treasures of Chinese national art. They are a bright pearl in the vast ocean of Buddhist art, offering a unique window into the spiritual beliefs, artistic achievements, and cultural exchanges of ancient China.