This work was created by Ms. Li Shaoyue

Height 9CM, Width 5CM

Working hours: 341h

Main picture: “Dunhuang Flying Apsara”

In the Wei, Jin, Southern and Northern Dynasties, not long after Buddhism was first introduced, the flying immortals in the murals were also called flying immortals. There was no distinction between flying immortals and flying immortals. Later, with the further development of Buddhism in China, the flying gods and flying immortals of Buddhism merged with each other in the artistic image. The Flying God of Dunhuang refers to the flying god painted in the Dunhuang Grottoes, and later became a special term for the art of Dunhuang murals in China. Flying as understood by the ancient Chinese does not rely on wings, but on a few colorful ribbons fluttering in the wind, wrapped around the arms to show a light flying posture, carrying the Chinese people’s pursuit of spiritual freedom. The philosopher Tang Junyi once pointed out that flying contains “streamers” “Spirit”, the beauty of the streamer is that it can swim and float, seems virtual and real, and rotates freely. Not being subordinate to things, heaven and earth are one, so naturally there is no need to have wings. When the spirit is free, the end of the world is just around the corner, and eternity is within a moment.

Sub-picture: “Picture of Peonies in the Golden Age”

The peony in the prosperous age symbolizes the peace and prosperity of the country and the people, as well as political harmony and harmony. Peonies have been endowed with the meaning of wealth and auspiciousness since ancient times because of their grace, dignity and splendor, and they can best embody the style of a great country. The blooming and splendid peonies once became a symbol of admiration across the country during the prosperous period of the Tang Dynasty. The peony season became a carnival in the capital Chang’an. Since the Tang and Song Dynasties, peonies have become a symbol of good luck, happiness and prosperity, and have been passed down from generation to generation. In 1959, Premier Zhou Enlai said in Luoyang: “The peony is the national flower of our country. It is graceful, magnificent and a symbol of the prosperity, happiness and happiness of our Chinese nation.” Therefore, the flourishing age of peonies and the flying sky pursued by ancient Chinese people jointly depict the beautiful wish of “university under heaven” in Chinese culture.