“走出敦煌壁畫”的飛天舞

近年來，敦煌這片千年古地再次成為時尚潮流的靈感源泉?！岸鼗惋w天”這一古老而神秘的造型煥發(fā)出全新的活力，成為時尚國風的新寵。最近，把飛天演繹得最好的，非古裝仙俠劇《長月燼明》與敦煌本土的洞窟式沉浸體驗劇《樂動敦煌》莫屬了。特別是《樂動敦煌》這部劇目中16位伎樂師的形象，將敦煌壁畫中飛天的絕美風姿展現得淋漓盡致：飄逸靈動的飛天舞等多種敦煌舞蹈，使得敦煌壁畫中的天宮伎樂、飛天仙子的形象得以再現，完美還原了敦煌壁畫中的樂舞盛景。

In recent years， the ancient land of Dunhuang has once againemerged as a profound source of inspiration for fashion trends.The captivating and enigmatic portrayal of the “Dunhuang FlyingApsaras” has been infused with fresh vitality， establishing itself as thelatest sensation in Chinese style. Notably， the period fantasy dramaTill the End of the Moon and the immersive local Dunhuang caveexperience known as Ancient Sound of Dunhuang have impeccablybrought flying apsaras to life through remarkable cosplay. In AncientSound of Dunhuang， the portrayal of the 16 musician performersvividly captures the elegance and grace embodied by the flyingasparas depicted in the Dunhuang murals. Their ethereal and vibrantdances， alongside various other Dunhuang dances， breathe life intothe celestial musicians and flying fairies， evoking the awe-inspiringscenes of music and dance depicted on the ancient walls.

飛天舞的由來

敦煌莫高窟迄今為止存有壁畫、塑像的洞窟共492窟，繪有樂舞圖像的洞窟370多個，其中，繪有飛天的洞窟有270多個。敦煌壁畫中的樂舞，上起十六國，下至宋元時期，綿延近千年，各種樂舞圖繪猶如一座樂舞博物館。敦煌壁畫中那些飄逸動人的飛天形象就是敦煌飛天舞的靈感之源。

To this day， the Mogao Cavesin Dunhuang boast an impressivecollection of 492 caves adorned withmagnificent murals and sculptures.Among them， over 370 caves showcasecaptivating music and dance scenes，while more than 270 caves depict themesmerizing flying asparas. Spanningnearly a millennium from the SixteenKingdoms to the Song and Yuandynasties， the music and dance sceneswithin the Dunhuang murals havetransformed the grottoes into a veritablemuseum of this expressive art form. Thegraceful and enchanting depictions offlying apsaras in the Dunhuang muralsserve as the primary inspiration for thecaptivating Flying Apsaras dance.

飛天源于古印度佛教，是天界“香神”乾闥（tà）婆和“樂神”緊那羅的合體，能將天上的歡樂與祥和帶給人間。敦煌石窟壁畫的飛天形象以其精美絕倫的繪畫與超凡脫俗的美感，成為敦煌藝術中一個標志性的符號。

Flyingapsaras ， originallyfrom ancient Indian Buddhism， isthe combinat ion of the“Fragrance Deity” Gandharvaand the “Mus i c De ity”Kinnara， embodying theability to convey celestialjoy and tranquility to themortal realm. Adornedwith exquisite artistry andethereal beauty， the flyingapsaras images showcased inthe Dunhuang cave muralshave become iconic symbolsof Dunhuang artistry.

據《唐會要》記載，唐代的宮廷和民間盛行各種舞蹈表演，尤以樂舞為甚。飛天舞便在這一背景下應運而生，它吸收了胡旋舞、霓裳羽衣舞等當時流行舞蹈的元素，形成了獨具一格的舞蹈語言。舞者們憑借輕盈飄逸的身姿、細膩靈動的手勢，生動再現了壁畫中的飛天神韻。

According to the Tang Huiyao， the Tang Dynasty witnessed a flourishing of diverse dance performanceswithin the imperial court and among the populace， with a particular emphasis on music and dance. It wasagainst this backdrop that the art of the Flying Apsaras dance emerged， incorporating elements from populardances of the time， such as the Sogdian Whirl dance and the Nishang feather robe dance. This amalgamationgave birth to a distinctive dance language， characterized by the dancers’ ethereal movements and delicate yetspirited gestures. Through their graceful motions， they vividly recreate the celestial allure embodied by theflying apsaras depicted in the murals.

獨特的藝術表現

飛天舞融合了西域各族的舞姿，又與中原文化相互交融，形成了獨特的藝術風格。敦煌飛天舞強調“形神合一”，舞姿要自由靈動，手、眼、身、法等都要在舞蹈中傳遞出情感，因此飛天的手姿非常多樣且充滿象征意義，每個舞姿和每組動作中的手部表現極為重要。

The Flying Apsaras dance incorporates thedance styles of diverse ethnic groups from theWestern Regions while assimilating with the culturalheritage of Central China， resulting in a distinctiveartistic style. The Dunhuang Flying Apsaras danceemphasizes the harmonious fusion of “form andspirit.” The dance movements should be free-flowingand agile， with the hands， eyes， body， and techniquesconveying emotions throughout the performance.Consequently， the hand gestures of flying asparasexhibit remarkable diversity and carry profoundsymbolic meanings， making them essential in everydance posture and sequence.

敦煌舞中的飛天形象大多再現了唐代壁畫形象，且以女性形象為主。敦煌飛天舞強調音樂與動作、身體與空間的和諧統(tǒng)一。舞者舒展、輕盈地盤旋翻轉，佩戴的串鈴發(fā)出清脆悅耳的聲音，絲帶在空中劃出優(yōu)美的弧線，展現出彩帶翩飛的歡快情景，給人以如夢如幻之感。在飛天舞者中，我們還能看到手持琵琶或身倚腰鼓的形象，觀其形仿佛能聞其聲，琵琶的音色豐富多變，為飛天舞蹈增添了一份雄壯與力量。

The flying apsaras imagery portrayed in the Dunhuang dances predominantly draws inspiration fromthe mural depictions of the Tang Dynasty， with a predominant focus on female figures. The DunhuangFlying Apsaras dance underscores the seamless integration of music and movement alongside the interactionbetween the body and space. The dancers gracefully and effortlessly twirl and spin， while the tinkling bellsadorning their costumes produce a clear and melodious resonance. As ribbons and streamers trace elegantarcs in the air， a scene of jubilant celebration unfolds， reminiscent of a mesmerizing dream. Among the FlyingApsaras dancers， one can also observe figures holding pipa lutes or leaning on waist drums， where their merepresence evokes the auditory sensations they generate. The pipa’s versatile and resounding tones add a touch ofmagnificence and strength to the Flying Apsaras dance.

敦煌飛天舞注重內在情感的表達，追求內在的含蓄和克制，這與中華民族的性格特點相契合。飛天舞利用舞臺的畫面構圖、隊形變換來展示飛天的藝術風格和文化特征，通過呼吸以及胸、腰、頭等的細微動態(tài)來表現動作之間的連接，將中國古人的審美觀念、宗教信仰和生活哲學形象地呈現在觀眾面前。

The Dunhuang Flying Apsaras dance places great emphasis on the expression ofinner emotions， pursuing subtlety and restraint， which aligns with theinherent characteristics of the Chinese nation. Through the strategicemployment of stage composition and dynamic formations， coupledwith nuanced movements of the chest， waist， and head， the danceconveys the artistic style and cultural essence of the Flying Apsaras.It vividly presents the aesthetic perspectives， religious beliefs， andphilosophical concepts of ancient Chinese society before theenthralled audience.

國潮文化“出圈”

敦煌飛天舞曾是非常小眾的舞蹈藝術，但隨著科技的發(fā)展、各種表現手法的不斷介入，它開始以多元的表現形式展示中國傳統(tǒng)舞蹈的絢麗多姿。1979年，以敦煌壁畫和絲綢之路為素材創(chuàng)作的中國舞劇《絲路花雨》，成功地將千年敦煌壁畫中的飛天形象在舞臺上“復活”，讓人們領略到中國傳統(tǒng)文化的獨特魅力。2008年中央電視臺春節(jié)聯(lián)歡晚會上，舞蹈《飛天》成為一大亮點，優(yōu)美的旋律和曼妙的舞姿美輪美奐，讓觀眾為之驚嘆。2019年，“蓋婭傳說”春夏主題“壁畫 · 一眼千年”巴黎時裝秀，將敦煌壁畫之美融入時裝設計，向世界展示了東方文化獨有的底蘊和魅力，飛天形象更是受到世界觀眾的廣泛關注與贊譽。

The Dunhuang Flying Apsaras dance， once a niche art form， has blossomed into a vibrantrepresentation of traditional Chinese dance， thanks to technological advancements and theintegration of diverse performance techniques. In 1979， the Chinese dance drama Flower RainAlong the Silk Road brought the millennium-old flying apsaras imagery from Dunhuang murals“back to life” on stage， captivating audiences and showcasing the unique allure of Chinesecultural heritage. The dance performance Flying Apsaras became a highlight of the China MediaGroup’s New Year Gala in 2008， stunning viewers with its graceful movements and enchantingmelodies. In 2019， the Chinese fashion brand Heaven Gaia debuted its Spring-Summercollection in Paris under the theme of “Murals： A Thousand Years in a Glance，” incorporatingthe beauty of Dunhuang murals into fashion design， unveiling the profound essence and charmof Eastern culture. The flying apsaras imagery garnered widespread attention and praise fromaudiences worldwide.

敦煌飛天舞不僅僅是一連串身體動作的單純展現，更是一種深邃文化內涵的生動體現。千年飛天“飛出洞窟”，以各種時尚的方式“出圈”，掀起了一場以敦煌文化為代表的國潮文化，讓觀眾與那些敦煌壁畫中“霓裳琵琶”“赤足玉盤”的飛天形象不期而遇。

The Dunhuang Flying Apsaras dancegoes beyond mere physical movements; itembodies profound cultural connotations. Themillennium-old flying apsaras have “broken freefrom the confines of the caves，” “transcendingboundaries” through various contemporarymanifestations， thereby sparking a cultural phenomenon rootedin Dunhuang culture. Audiences now have the unexpectedpleasure of encountering the ethereal “Pipa-Playing Fairies”and the graceful “Barefoot Jade Plate Dancers” depicted in theDunhuang murals.