readx(); The plane flew for more than an hour and arrived at Kuqa Airport, and then did not stay in nearby Kuqa County, but took a tour bus that had been contacted in advance, and pulled them straight to the Kizil Thousand Buddha Cave, and they booked a hotel over there. Qin Fangge didn't want them to be too tired, and it would take much longer to ride in a car. He also wants to save time himself, and what can be settled with money is not called a thing.

This is the location of the ancient country of Qiuzi, and it is also the last stop of their journey.

If you want to visit the grottoes on this side of Kizil, you must go through the Qiuci Research Institute, which manages the grottoes and is responsible for taking tourists to visit and explain to tourists, and their more important work is to maintain and repair the grottoes and carry out the digitization of academic research. Ordinary tourists can buy tickets directly, Qin Fangge has to do more things, just like the routine in Dunhuang, through the connection of director Zhang Xiaoyang, he directly found the research institute.

This time is no exception, the dean and vice president of the Qiuzi Research Institute are all there, and they have all heard about Qin Fangge, a good money boy. The news of his donation of 500,000 yuan to the Dunhuang Academy has been spread, and the cultural exchanges between the two research institutes are very close, and many activities have been held together.

The age of Qiuci Grottoes is hundreds of years earlier than Dunhuang Grottoes, Dunhuang Grottoes are also very influenced by Qiuci Grottoes, at that time, the Buddhist culture of Qiuci is extremely prosperous, music and dance is particularly famous, and deeply influenced the music and dance of the Central Plains. Tang Xuanzang recorded it in it, saying that Qu Zhi's "orchestral music, especially good for all countries". In other words, the level of Qiuzi music and dance is the highest among the countries of the Western Regions.

Qin Fangge and his party are engaged in music and art, of course, they are here for this. His reputation as a composer is still quite good, especially after the music of the new version of the Romance of the Three Kingdoms spread all over the country and the desert land in the northwest.

The people in the research institute were very polite to them, Qin Fangge was not ambiguous, and they had a good dinner. When the girls faced the food, they also let go of their reserve and ate beautifully.

After the guests and hosts enjoyed themselves, they also arranged a singing and dancing performance in the mountain villa, and the Uyghurs were good at singing and dancing, but there was still a big difference from the old Qiuzi music and dance. It doesn't matter, Qin Fangge and they still use cameras to record it, and these enthusiastic and unrestrained folk music are of great benefit to the composer's creation.

It wasn't early, everyone rested in peace, and after another day of running and tiring, Qin Fangge slipped to Lin Baoqing's room to help her eliminate her fatigue, and was driven back to her room by her. Chen Tianhong and Han Wei didn't have much strength to make trouble, so he quietly did his own thing in the room.

The next day, everyone got up early, and after breakfast, they went to the research institute next to it, and Qin Fangge did not favor one over the other, and donated 500,000 yuan to the Qiuzi Research Institute. The conditions of the Qiuci Research Institute, which is not very valued, are much more difficult than those of the Dunhuang Academy, and many researchers work here with enthusiasm and feelings.

In addition to taking photos, Qin Fangge didn't want to do anything about it, and the research institute was happy to have less trouble. In the research institute, Qin Fangge and Lin Baoqing also visited a lot of precious cultural relics and sculptures, and Xia Xue, the tour guide, was also happy to become an audience.

Qin Fangge also asked the research institute for high-definition photos of mural sculptures, saying that they were looking for inspiration for creation, and even if they were allowed to take pictures, their own level would definitely not be as professional as others. This requirement is naturally easy to meet, and the director of the institute also brings out a lot of materials that cannot be seen outside, such as the high-definition digital image materials they get back from abroad.

Speaking of the theft and destruction of the grottoes, everyone is quite helpless, and it is basically unrealistic to want to get back the things that were stolen out of the country. Fortunately, the results of the exchange and negotiation are not too bad, and most of the video materials can be obtained, which is particularly helpful for the maintenance and repair of the cave murals and sculptures. To this end, the staff of the institute have also made a lot of hard efforts.

After staying in the institute for a morning, after lunch, the special researcher Zhou Lisheng took him to the Thousand Buddha Cave for a field trip, he is a native of Shanghai, he can come to Kizil thousands of miles away, and he has been working for decades, this spirit alone is enough for Qin Fangge to admire them.

There is also a large statue built in modern times under the Thousand Buddha Cave, which is a celebrity of the ancient country of Qiuzi, Kumarosh, Zhou Lisheng also gave their group a general science popularization of Kumarosh's deeds, the contribution to the spread of Buddhist culture and so on.

After that, go up to the cave to visit, the history of the excavation of the Kizil Thousand Buddha Cave is nearly 300 years earlier than the Dunhuang Grottoes, the style, color, content, form, etc., are also very different from the Dunhuang Grottoes.

What made Qin Fangge and his party feel most distressed was that the preservation of the grottoes was much worse than that of the Dunhuang Grottoes.

Zhou Lisheng explained that the war that occurred in the ancient kingdom of Qiuci and the holy war caused by the faith, the Uighurs believed in the religion of Yisi Lan, and finally Qiuci was even destroyed, and the Buddhist culture came to an end. The frescoes and sculptures in the grotto were greatly damaged at that time, and they still have countless scars.

The second large-scale theft and destruction was in the late 19th and early 20th centuries, when the so-called explorers of Britain, France, Russia, Germany and Japan carried out unscrupulous theft, and even shamelessly boasted that they had invented new technologies for mural sculpture cutting......

Coupled with the erosion of wind and sand with the passage of time, the current preservation of the grottoes is not optimistic, which is really distressing.

Rao is like this, the splendid culture of the ancient country of Qiuci is also the most preserved in the grottoes, and the others have long since disappeared with the passage of thousands of years.

And in these remnant mural sculptures in the cave, what brought Qin Fangge to them was still shocking and emotional.

In particular, the music cave is a representative mural that integrates the art of turtle music and dance.

This cave painting is well preserved and very rich in content.

On the left and right walls of the cave, a picture of the heavenly palace is painted, and the image of its 28 music bands is playing: playing the pipa, playing the tambourine, plucking the gonghou, playing the pan flute, blowing the suona, and dancing the flower rope ribbon...... All of them are in tune with the festival, and the slightest is in the button. The demeanor, posture, and mood are different, or the spirit is flying, or focused and leisurely, and the breath is still there, vivid and sensible.

Among them, the two small tricks in each niche fly into the sky, dancing and music, moving and static, lifelike. Located at the upper end of the left wall, the fourth niche is in the sky, the round face is plump, brown skin, thick and strong, and the horizontal flute is flying in the sky on the left wall, the cherry lips are facing the hole, sucking the chest luck, as if in the moment when you want to vomit but not vomit, the kind of shoulders and arms are jumping for it, and the whole body is vibrating for the joyful passion, hearty, like about to go out of the wall. Dancing with the musicians is the Maiko, who either bends their elbows and shrugs their shoulders, twists their waists with their chests in their hands, or pinched flower petals in their hands, dances with their arms, or shakes their heads and clapps their high-fives in unison.

Zhou Lisheng also continued to explain to them, saying that the Heavenly Palace Diagram was the scene when the Buddha said the Dharma, and "the Buddha's Dharma, in the Buddhist scriptures, is a great event, because the Buddha wants to tell the profound truth to the addicted people, awaken them and guide them to pursue the happiness of the heavenly kingdom." Heaven is a fantasy world, so the subtleties of the saying are often accompanied by music, singing and dancing, and the members of this band are often half-naked or ****, both male and female, and often male and female pairs. This is the best example of this, and the 14 groups of music figures in the upper band are typical examples of a man and a woman pairing together. The male and female music gods in China are relatively more emotional, standing or sitting, snuggling against each other, revealing a toned body under a thin and transparent gauze robe. ”

As he said, most of these tricks are half-naked or completely naked, Zhou Lisheng explained, this may be influenced by Greek culture, and this situation is particularly common in the Kizil Thousand Buddha Caves. On the side of the Dunhuang Grottoes, it is not so bold, a later time, if it is passed on, it will more or less integrate the culture of the Central Plains, and it seems to be a lot more restrained.

Even Li Ruoli and Ye Xiuling did not shy away from these half-naked or fully naked murals, even if they were basically men, they also showed the great power of the male.

They stayed in this music cave for a long time, and Qin Fangge also recorded all this with the digital camera in his hand.

In addition to this, there are quite a few mural sculptures about music and dance, which can be said to account for the vast majority.

For example, on the left wall of Cave 163, the goddess of music is topless, with a bra, playing the gonghou, standing with her feet crossed, her shoulders, chest, and crotch have a large twist, and her posture is soft. The male music god ****, Pei Yingluo, wearing a brocade belt, on the shoulders of the female music god, talking with the female music god, the atmosphere of life is rich, different from the surrounding faces, and the artistic value is very high.

Zhou Lisheng has a particularly deep study of Buddhist culture, and talks about it as a "story painting of Buddha's transformation into a god of music and love". It tells the story of the god of music, who loves himself and has superb performance skills, often arrogant and unreasonable, and before the Buddha Nirvana, he turned into a female god of music and came to compete with him to play the gonghou, and her acting skills are far better than good love. Then the Buddha appeared in his true form, and he knew his repentance deeply, so he worshiped the Buddha and listened to the Dharma and converted to Buddhism.

From the perspective of painting art, it is also very valuable, the character lines are like flowing clouds, the brushwork is smooth, and the expressions are vivid, which can be described as the perfect unity of body and mind.

Among their group, there are not many people who have the talent of painting, and there are only a few people in Xiao Jingru and Li Ruoli and Song Xian, Qin Fangge doesn't seem to have any talent in painting, but he still appreciates him, and at a deeper level, he can only expect to be more professional.

In terms of dancing, Qin Fangge's talent is very good, and the harvest of this trip is also very great. Among the girls, Zuo Shuqin, Lin Baoqing, Chen Tianhong, and Wang Zizi are all quite talented. In the culture of Qiuzi, music and dance have always been inseparable, which is quite prominent in both murals and sculptures, as well as in written records.

"We've also hosted a lot of dancers who come here for the same purpose as you, to seek artistic breakthroughs and inspiration. And our Kizil Thousand Buddha Cave is said to be the art palace of Qiuzi culture, which is not too much at all. When Zhou Lisheng explained to them, he also said proudly.

He also took Qin Fangge to visit one after another caves with exquisite contents, and gave a detailed explanation of the stories of Buddhism.

Buddhist scriptures often describe the kingdom of heaven as a pure land, a fantasy of a strange and beautiful world. In this world, it is filled with the fragrance of birds and flowers, and it is full of love and happiness. Since it is such a beautiful world, music and dance can be seen everywhere and must be indispensable.

Therefore, in the Qiuci Grottoes, whether it is a diagram of the law, a story of karma, or a story of the Buddha, a story of Bunsen or other contents, there are often **** or half-naked music and dance Bodhisattvas, Feitian, Tiangong music, or a single picture, or a pair of pairs, or a team of friends.

"A Dancer's Female Bhikshuni" tells the story of a dancer's daughter, who is smart and beautiful, good at singing and dancing but frivolous and arrogant, and was later turned into a nun by Buddha. The picture shows the dancer and the girl singing and dancing in front of the Buddha, naked/naked, only decorated with a shawl, showing a graceful figure. She rests her left hand up, bends her elbow with her right hand and pushes it down, crosses her feet, and twists her waist out of her hips. This painting echoes the nude woman in Cave 101, known as the "God of Dance", and incredibly, the form and dance of the nude girl in the two paintings are almost identical, like a pas de deux with coordinated movements and beautiful dancing, the difference is that the former has a slight head and eyes to the right.

In the five-fun reincarnation diagram of Cave 175, a naked dancer dances beautifully, with strong movements, and jumps over a higher span, which is comparable to contemporary ballet. Judging from the picture, it jumps to the right, but the head is turned back, looking to the left, sitting with his feet crossed, holding the Konghou in his arms, and his hands are in the form of beating and beating, and the half-naked person who is in line with the dancer's dance steps is tacitly coordinated, and the audience can feel the softness of the dance posture from the picture, and the expressiveness of the melody change of its beat.

In Cave 161, there is a pair of naked and physical Bodhisattvas who are leaning against each other, one is playing the flute with a drum cheek and the wonderful sound lingers, and the other is holding the pan flute with both hands and is ready to play the soundtrack at any time, with a delicate pen and beautiful shape, it is the best among many Bodhisattvas of Joy. The naked/female in the demon subjugation diagram of Cave 76 of Kizil, the left hand is pointing at the Buddha's body with a "sword finger", the right hand is crossed at the waist, the feet are walking, and the buttocks are twisted.

There is a **** Bodhisattva on the right side of the Dharma diagram above the door of the front wall of Cave 38, wearing a green streamer, hanging a long Yingluo, the body is clean and plump, the head is slightly turned, the eyes are slightly downward, listening to the law devoutly, as if he has an understanding, he can't help but dance his arms.

The fairy queen in Cave 83, the storybook of the dancing ** queen and other bodybuilding dance postures dazzle the viewer and dizzy. These dancing bodhisattvas with all kinds of styles compete in the Qiuzi Grottoes, radiating strange colors and fragrances. The gist of the story is: The king of the fairy road is good at playing the gonghou, and the queen of the moonlight is good at dancing. During a dance, the Sendo King saw an omen of the queen's imminent death. The picture shows the king of China sitting on a high seat with a backrest, and behind him there is a gonghou. In front of the king is the queen who sings and dances with a streamer in her hand. The queen is naked**, with a slender figure, bracelets and bells on her wrists and ankles, dancing colorful scarves with both hands, her left leg is tilted back, and her body leans forward, highlighting the ****, her posture is soft and moving.

Qin Fangge and they couldn't help but admire, what a collection of charming ** art and the captivating turtle dance in one of the fine arts.

Zhou Lisheng also made a classification, "These types of ** statues belong to the story of the Buddha after his enlightenment, and when the Buddha was still a prince before his enlightenment, the nude portraits in the pictures also have typical significance." According to Buddhist scriptures, when the Buddha was still the crown prince, he decided to become a monk because he saw all kinds of troubles in real life. In order to keep him on the throne, his father, King Johan, deliberately created an environment around him that was drunk and golden, so that he became nostalgic for the world. He has described his situation: "...... In the palace of the Restoration of Christianity, strict covenants were made. All the women, day and night, play all the music, show all the things that entertain, all the power of the woman's illusion, all the manifestations." ”

It is this scene depicted that Prince Siddhartha is placed in the center of the picture, surrounded by court maids and musicians, and the prince is holding his cheeks in contemplation. The dancing girl **** next to the prince in the picture. Zhou Lisheng even made a special analysis from the composition, atmosphere or character image, and Qin Fangge opened their eyes.

There are 20 figures painted in this mural, the unmonk prince is in the center, and there are 9 palace maids on the left side, wearing corsets, blowing flutes, high-fives, and teasing birds, with a bewitching posture and a warm atmosphere. A **** palace maid close to the prince, with her hand to support the breast, leaned forward to approach the prince, with obvious seduction, and the prince's head turned to the left, disdainful, indifferent. The expressions and dynamics of the two characters, one cold and one hot, are completely different, reflecting the prince's belief that he was not tempted and firmly left away, and praised the Buddha's extraordinary, superhuman spiritual demeanor before becoming a monk.

The murals of the Kizil caves show the passage of "seeing through the red dust" before the Buddha's enlightenment, except for the ** image. The gist of the story is that when Prince Siddhartha had the idea of becoming a monk, one night, he saw the body of the palace maid and his wife Yajandra who had fallen asleep, and strengthened his determination to run away, so he stole out of the palace gate that night, let the groom chariot hide and bring a good horse named Gandha, and the four gods carried the horse's feet and went over the city.

What's even more exciting is that the ** in the picture is the most undisguised. Legend has it that when the Buddha was cultivating, the demon king Bo Xun was jealous of the power of the Dharma, and once sent his three daughters to lure him, in the delusion of "messing with his pure behavior" with his beautiful appearance. The picture shows the plot of the three girls who failed to be tempted and became three "old mothers". In the picture, the Buddha sits in the middle of the knees, making an ascetic state, and the right side is the three witches with a plump body and a frivolous expression, and according to the storyline, on the left side of it is painted three ugly women, "the head is white and the face is wrinkled, the teeth are drooling, the flesh is standing on the bones, and the belly is as big as a drum", which is the three witches who were later incarnated.

In addition, there are the beautiful and stunningly beautiful Mrs. Moyer, the sexy Dragon Princess, all of them, and they are dazzled by Qin Fangge.