Revealing the patron saint of Dunhuang murals: the real founder of Mogao Grottoes

It has been 1600 years since the first cave was dug in Dunhuang Mogao grottoes. After the Sixteen Kingdoms, caves were dug in Northern Wei, Western Wei, Northern Zhou, Sui, Tang, Five Dynasties, Song, Yuan, Ming and Qing Dynasties. There are 492 relatively complete caves, and there are more than 50,000 square meters of murals in the caves alone. It is the cave group with the largest number of murals in China and even in the world, with very rich contents. Dunhuang murals are the main part of Dunhuang art, with rich content, huge scale and exquisite skills. In particular, there is a mural called the provider, which has unique artistic value and research value. It is the diners in these murals that have been handed down from generation to generation, concentrating on digging caves, building Buddha statues and drawing murals, and finally creating a splendid Dunhuang culture. 1. The prosperity of Buddhist culture gave birth to cave patrons. During the Wei, Jin, Southern and Northern Dynasties, the Central Plains was in chaos, and many famous families and literati came to Hexi to avoid the war, which promoted the culture of Hexi Corridor, the main road of Sino-Western communication, to an unprecedented level. The Liang dynasty established one after another also concentrated a large number of talents. The arrival of aristocratic families in the Central Plains, the improvement of local cultural level and the existence of a large number of scholars provide a knowledge base for the region to accept foreign cultures, and also make it possible for foreign cultures to be transported to the Central Plains. During the late Han Dynasty and Wei and Jin Dynasties, with the arrival of the gentry in the Central Plains, Buddhism soon spread in Dunhuang. The regime change and war at that time provided conditions for the spread and development of Buddhism in Dunhuang. In the Western Jin Dynasty, Zhu Fahu, a Yue monk who lived in Dunhuang, led a large number of disciples to translate and give lectures, build temples and dig caves here. In addition, a large number of monks come and go from east to west, constantly injecting vitality into Dunhuang Buddhism. The turbulence of the real environment is making it possible for people to believe in Buddhism and pursue a better afterlife. The direct rule of the Northern Wei Dynasty and the Five Dynasties brought the Buddhist culture of the Central Plains to Dunhuang area. For a time, local and central plains dignitaries dug holes in Dunhuang. The Dunhuang Tibetan Sutra Cave preserved the heart sutra of Za 'ayi Dharma copied by Wei Fengxi, the capital of the Northern Wei Dynasty, and also found the fragments of the Buddha statue that Yang Guang and Wang Huian hoped to embroider in the Northern Wei Dynasty. Many senior officials who believe in Buddhism once worked in Dunhuang and dug large-scale Buddhist caves, which set an example for local people from all walks of life. They believe in Buddhism and digging caves has become a smash hit. After the Sui Dynasty unified the north and south, China began to reach its peak since the Han Dynasty. Driven by the wave of worshipping Buddha by the ruling class, people from all walks of life in Dunhuang have dug 70 or 80 caves in just one Mogao Grottoes in just over 30 years, which has set off a craze for building caves. Since the Tang Dynasty, all ethnic groups have been further integrated, the territory has been continuously expanded, Buddhism has been introduced into the Central Plains and flourished, and the economic development and the smooth flow of the Silk Road have also enriched the content of Dunhuang culture. A large number of palace classics were shipped out of Chang 'an, further injecting the influence of Han Buddhism into Dunhuang, the holy city of Buddhism. Many emperors personally ordered the construction of temples in Chang 'an and other places to vigorously promote Buddhism. In this context, in the Tang Dynasty, prominent families in Dunhuang continued to dig caves. By the time Wu Zetian, who believed in Buddhism, was in power, more than 1000 caves had been continuously dug in Mogao Grottoes, and a Maitreya Buddha statue imitating the image of Wu Zetian (the north statue of Cave 96) had been built. Second, the provider is the real founder of the Mogao Grottoes. When people marvel at the number of Dunhuang Mogao Grottoes, exquisite and magnificent murals and colorful statues, they always ask the question: Who built these caves? Why did they build so many caves? In fact, as long as you pay attention, you can find the answer in the cave. The answer is the portrait of the provider on the mural. The provider is the owner of these caves and the builder of Mogao Grottoes. Portrait of donors is a very important part of Dunhuang grottoes art. The so-called providers are masters of merit, cave owners, donors and their related members such as family, relatives or social relations. Of course, it doesn't mean that they are craftsmen who dig caves. The patrons are Dunhuang clans, local governors, monks and ordinary lower-class civilians. They are active figures in Dunhuang history, so these portraits have extremely high historical value. Most of the caves in Dunhuang Grottoes have portraits of people who help others, which are the first-hand materials to study the construction time and owners of the caves, and also the precious physical materials to study Dunhuang costumes. Patron portraits from the Sixteen Kingdoms, the Northern Dynasties to the Yuan Dynasty, from small to large, to the Five Dynasties and the Song Dynasty, are all life-size, all the same family figures living in the same cave, with the nature of a family temple. The spread of Buddhism attaches great importance to statues, believing that if believers see the true face of Buddha and Bodhisattva, they can devote themselves to worshipping the image of Buddha and Bodhisattva. Therefore, there is a special "Statue Merit Sutra" in Buddhist scriptures to publicize the benefits of sculpture. For officials, gentry and rich people, making statues extensively can not only enjoy the luxury life and opportunities now, but also enter the "western paradise" after death. For ordinary people, Buddhism also teaches them that as long as they can "build Buddha statues with their own strength", they can live a rich life forever from poverty and misery. Therefore, no matter whether rich or poor, they all come to open caves to make statues and portraits. Buddhists, in order to show their religious devotion, always support themselves, draw their own images under or around the Buddha statue, hold incense burners or fragrant flowers, respectfully queue up or kneel on the ground to worship, and post their names and official positions. This kind of merit painting for the donor who funded the cave statue is the portrait of the donor. Third, the characteristics of the portraits of the donors in Mogao Grottoes are very distinctive. Supporters are all the whole body, most of them are group images; There are monks and nuns, family members, people and bureaucrats. These portraits include the living and the dead from all walks of life, ethnic groups and industries, and are the most extensive portraits of social figures. There are more than 8,000 portraits of donors in the Mogao Grottoes, which lasted 1000 years. It is the largest ancient portrait atlas in China. The patrons of Dunhuang murals can be roughly divided into six categories: First, local officials. That is, officials in Hexi Corridor in Dunhuang and other places at that time, from princes and nobles to government officials and their families; Second, soldiers guarding the border. That is, in our time, the generals and commanders of Hexi, Dunhuang, Yumenguan and Yangguan at that time; Third, temple monks. Including Sangtong, temple master, mage, bhikkhu, bhikkhuni, Youposai, Youpoyi and so on. Fourth, the common people. Such as drivers, grooms, waiters, guards, palm fans, sticks, clothes, objects, etc. 5. Portraits of ethnic minorities. Diners' portraits are mostly composed of master and servant, and the hierarchy is strict. The master's portrait is in the front and the handmaiden's portrait is in the back, arranged and shaped. This portrait is more than a foot high, while this portrait is less than an inch. There are as many as 1000 portraits of supporters in some caves. The early portraits were very small in size, and the content generally only showed the piety and reverence of the providers. The portrait of the provider in the Tang Dynasty entered its heyday, with real image, obvious personality, vivid expression and prosperity. The portrait grew from small to large and was painted in a striking place in the cave with detailed titles. In the Five Dynasties, a large number of scraping portraits of the Cao Shi family appeared, and the Academy was supported by a special portrait artist. The ancestors drew them one by one in three generations, just like the genealogy of the image. The portrait of benefactor has gradually changed from the initial offering of Buddha to the propaganda material serving political utility. Four. The Portrait of the Patron was the truest reflection of the social reality in Dunhuang at that time. The portrait of the Wangjia Temple in Taiyuan, which was first restored by Mr. Wang, is the largest existing donor portrait in Dunhuang Mogao Grottoes. There are 12 people in this portrait. The first image is the largest, and the title is "Mrs. Wang of Taiyuan, Mrs. Governor, wholeheartedly support". The second and third are the daughters of the governor's wife, and the last nine are handmaiden. According to textual research, the north wall opposite this painting is painted with Commander-in-Chief Laotinglang, his son and footman. Together, the two walls are the Buddha worship map of Commander-in-Chief Laotinglang's family. The structure and artistic conception of this painting have broken through the ranks of serious supporters of the former foundry, and the characters are distinct, free and lively. Especially in the design of the background of the characters, weeping willows, flowering, mandrakes, bees and butterflies are flying, which has a unique life interest. At the same time, it also reflects the economic prosperity, social stability and the prosperity of people's lives in the Tang Dynasty. The picture "Sacrifice Statue of King Li Shengtian of Khotan" profoundly reveals the relationship between Khotan State and the rulers of Shazhou (Dunhuang) at that time. Wei Chi's surname was Yu Kan, and his surname was Li in the Tang Dynasty. After five dynasties, he was blessed for three years and named Li Shengtian "King of Khotan". According to historical records, Li Shengtian is the son-in-law of Cao Yijin, the supreme ruler of Shazhou (Dunhuang). After sealing, he and his wife Cao Shi painted their sacrificial statues in the Buddhist grottoes built by Cao Yijin in Mogao Grottoes. The head of the portrait is wearing a headdress and a dragon robe, just like the son of heaven in the Han family. According to historical records, Gao Gao sent an envoy to Khotan, wrote down what he saw and said, "The holy heaven is dressed like a flower." Like this portrait, it reflects the close relationship between Khotan and the Central Plains Dynasty in the sandbar. Portraits of Princess Uighur and others came from Cave 6 1 of Mogao Grottoes, and the owner of the cave was Cao Yijin, the son of the supreme ruler of Dunhuang at that time. Among the four supporting portraits of ladies, the first portrait is called "My Mother", the second portrait is called "Sister". Cao Yijin's daughter, Yuan Zhong's sister, married to Uighur in Ganzhou, and the third portrait is also Yuan Zhong's sister, married to Uighur in Khotan. The arrangement order and marriage relationship of the portraits reflected the communication relationship between Cao Shi regime in Shazhou and Ganzhou and Uighurs in Khotan at that time. It is not difficult to see from the statue of King Li Shengtian in Khotan and the statue of Princess Li in Longxi that the stability of Dunhuang regime at that time was closely related to its surrounding democratic policies. The statue of the patron saint is a rich historical and artistic treasure house. Almost all of the 492 caves in Dunhuang Mogao Grottoes have portraits of patron saints, and most of them have inscriptions on the list. According to rough statistics, there are about 7000 inscriptions, which reflect the status and background of the providers. They are all records of real people and events at that time, which are not recorded in most historical books. It is a valuable material for studying the history of political, military, economic, religious and cultural exchanges between China and the West in Dunhuang, Hexi and the Silk Road. At the same time, the portraits of benefactors in Dunhuang murals are the epitome of ancient Chinese portraits. The existing portraits of diners in past dynasties clearly show the development course and fine tradition of traditional figure painting in China. Simple portraits of Han and Confucianism, the elegance of officials in Wei and Jin Dynasties, the magnificent faces of ladies in Sui and Tang Dynasties, and the Song people of the Five Dynasties who were used to secular life can all find works of the same style here. The portrait of the benefactor in Dunhuang, which lasted for thousands of years, is the largest ancient portrait atlas in China. Its excavation and utilization have a good reference for modern figure painting. It is conceivable that during the Sui and Tang Dynasties when Buddhism flourished, I don't know how many skilled craftsmen and painters were serving the activities of digging caves, especially the first-class painters. What kind of mood did they use to complete the secular appearance of those rich and noble people in their previous lives and afterlives? In the Buddha's world, there is no distinction between nobility and inferiority. Those who are pure are self-clear, and those who are turbid are self-turbid. The painters didn't leave a self-portrait for themselves! (Source: Lanzhou Evening News)