My Demon Friends-Chapter 556 - 535 Little Cat Girl and Little Fox Lady

「Wednesday, the 20th, morning.」

「Mogao Caves.」

Zhou Li, wearing a duckbill cap and carrying a backpack, followed the crowd into a cave. A complimentary silk cloth he received with his ticket was tucked in his pocket. He mechanically looked up at the murals, his expression somewhat dull. The voice of the tour guide droned on through his headphones.

The Mogao Caves are arguably Dunhuang's most famous symbol, so even during the off-season, there were still quite a few people. It's said that during peak season, tickets are so sought-after they can be impossible to purchase even a month in advance.

Tickets for the Mogao Caves vary between the off-season and peak season. During the peak season, there are three types—A, B, and C—which grant access to a different number of caves, up to a maximum of eight. In the off-season, there are two types, D and E. Both allow visits to twelve caves; and because there are fewer people, the tours last longer, and the guides provide more detailed explanations. Therefore, for someone genuinely passionate about Mogao Caves culture, visiting during the off-season is ideal.

However, understanding the murals still presented a certain barrier to entry. Many visitors, drawn by the caves' fame, left disappointed, feeling they had wasted their money and gained nothing more than a cursory glance, especially those who purchased Category B tickets during peak season. This disappointment often stemmed from a lack of understanding; without it, they naturally couldn't comprehend the murals. Additionally, some people struggled to find aspects that personally interested them, leading them to find the experience dull.

This was the case for the foreign couple near Zhou Li. They couldn't understand the guide, and photography wasn't allowed. After enduring a few caves, they couldn't bear it any longer and simply turned around and left.

Then there were Huai Xu and Tuanzi. Tuanzi started yawning from boredom after only two caves. Huai Xu, on the other hand, couldn't comprehend the appeal of these faded, scratched artworks at all. She declared she wouldn't have come to see them even if they were freshly painted with vibrant colors, unless all expenses were covered. Consequently, they left the caves even before the foreign couple and were now playing outside.

Only Zhou Li remained, following the main tour group.

He had done some preparation before coming, reading articles about Mogao Caves culture. While his gains weren't substantial, he at least knew how to approach appreciating the content of the murals. Moreover, the admission included two films that aided in understanding the cave culture. These were not only interesting but also helpful for the tour, allowing him to remain somewhat engaged.

The Mogao Caves, also known as the Thousand Buddha Caves, are the result of colliding civilizations. Different dynasties and regimes collaborated here for over a thousand years to create the magnificent site seen today.

Although the construction of the Mogao Caves is inextricably linked to Buddhism, with the sculptures and murals predominantly featuring Buddhist themes, their artistic value transcends mere religion. The content depicted in the murals extends beyond Buddhist pure lands and worshipping devotees. If you look carefully, you will find artistic traces of multiple civilizations, including Iranian, Indian, and Greek. Even if art isn't your primary interest, the figures depicted reveal the daily lives of ancient people and the distinct cultural habits of various dynasties. These discoveries can be quite surprising, as many aspects challenge conventional modern understanding. There is always something to gain.

Zhou Li felt that a valuable piece of art must possess meaning—it should record, represent, or reflect something. If it lacked these qualities, he simply couldn't appreciate it. The murals of Dunhuang particularly exemplified this.

At a glance, Zhou Li could see what they recorded: the daily life of ancient people—their clothing, food, housing, and transportation; their forms of entertainment and spiritual nourishment; even their technological products—all found expression in the murals.

Even disregarding these narrative elements, a great deal could be discerned merely from the brushstrokes employed by the artists of those times.

The earliest caves were constructed during the Eastern Jin period. At that time, the Bodhisattvas in the murals still bore the features of the Western Regions. As Mr. Yu Qiuyu described, "You could even see what they looked like when they started their journey from India: deep, thick lines, strong three-dimensionality, bare-chested, still carrying the warmth of the banks of the Ganges River." This was when Buddhism had just begun to flourish in China.

During the Wei, Jin, and Northern and Southern Dynasties, the Bodhisattvas in the murals became more lively. Their figures grew elongated, and their attire, following the contemporary aesthetic, became bolder. Some even exhibited what could be described as a delicate, almost sickly beauty, reflecting the tastes and predilections of the era's distinguished literati.

By the Sui Dynasty, this particular form of delicate beauty had vanished.

In the Tang Dynasty, painters' brushstrokes became more natural and fluid, their subjects' expressions grew more tranquil, and women increasingly occupied dominant positions in the artwork—a testament to the confidence and open-mindedness unique to the Splendid Tang Dynasty.

...

Gazing at the murals, Zhou Li could almost see that bygone era. It was like a reflection, every part bearing the imprints of that age's culture and character.

It was also the world in which Huai Xu had once lived.

Therefore, Zhou Li found it interesting.

And therefore, Huai Xu found it boring.

When Zhou Li emerged from the last cave, an Old monster, even more ancient than the oldest cave in the Mogao Caves, was sitting on a stone bench, waiting.

For her visit today, she had adopted the appearance of a beauty from the Western Regions. She wore ancient Dunhuang-style clothing that was glamorous and eye-catching. Paired with her features, she looked as if she were a Flying Fairy about to ascend to the heavens. However, this aspiring Flying Fairy was currently munching on a meat sandwich held in her left hand, with three more clutched in her right. This spectacle completely shattered her ethereal image, leaving no trace of historical gravitas about her.

The Little Cat Girl, even older than the Old monster, stood to one side, tilting her small head and looking on eagerly.

Seeing Zhou Li approach, the Little Cat Girl immediately turned her head and said, "Zhou Li! Huai Xu won't give Lord Dumpling any of her sandwich!"