00:00:06-00:01:02
During Zhenguan Years of Tang Dynasty, 28-year old Xuanzang started from Changan, and headed to the west, and then reached the Jade Gate Pass, and came to Moheyanqi.No birds, no grass, he is all alone, with an old horse, for 800 miles at Moheyanqi. His water got spilled, and he rather died on the way to the West, and refused to head back.Even in that kind of situation, he still kept going west, got out of the desert and arrived in Dunhuang. This kept the original image of Xuanzang’s journey.
During Zhenguan Years of Tang Dynasty, 28-year old Xuanzang started from Changan, and headed to the west, and then reached the Jade Gate Pass, and came to Moheyanqi.No birds, no grass, he is all alone, with an old horse, for 800 miles at Moheyanqi. His water got spilled, and he rather died on the way to the West, and refused to head back.Even in that kind of situation, he still kept going west, got out of the desert and arrived in Dunhuang. This kept the original image of Xuanzang’s journey.
大唐贞观年间，二十八岁的玄奘从长安出发，一路西行，西出玉门关，来到了莫贺延碛,上无飞鸟，下无水草，八百里的莫贺延碛，他一个人，一匹老马，他的饮水打落了，身心饱受煎熬，宁可西行一步死，不肯东归半步生,在这样的一个情况下，他还是毅然往西，走出了这段沙漠，敦煌，保留了我们现存能看到的，最早的关于玄奘西行的图像.
00:01:04-00:01:48
(Journey to the West, Dunhuang)(Tang Bohua/Cartoon director),People who involve in the art production must get close to Dunhuang. Only when you get close to it, you can create with real feelings and thus get exactly what we want. In other words, present the beauty of Dunhuang, to the fullest.It was still cold during the March this year. Our team stayed at the foot of Mingsha Mountain, for the production.
(西遇记 敦煌)
(汤柏华|动画导演)我们所有的参与创作的人，必须贴近到敦煌的这个原点，这个艺术中心的核心的这个地方，接近它，带着这种最真切的感受再来做创作，这样我觉得是能做出我们想要的一个效果，或者说能够比较好地表现到敦煌核心的美.今年的三月份，当时敦煌还特别冷，我们在这个时候团队就在，敦煌鸣沙山的那个山脚下驻地下来，还是为了就是从创作本身出发.
00:01:49-00:02:40
On the aspect of this ancient art presentation, nobody still applies the ancient methods to paint murals. It is really difficult.At first, we did some research based on the literature on Dunhuang. We have done a lot of tests and investigations. There is a river flowing through Mogao Grottoes, called Daquan River. We dig out blocks of special fine mud, which is called Slab soil by the locals. We used it as the base for the wall, and added straws eaten by the camels, cotton, and other fibers to it. After the wall got stiff, using the method of 30% of sands, 60% of soil and then 10% of dust, finally we got the wall that could be used for murals.
On the aspect of this ancient art presentation, nobody still applies the ancient methods to paint murals. It is really difficult.At first, we did some research based on the literature on Dunhuang. We have done a lot of tests and investigations. There is a river flowing through Mogao Grottoes, called Daquan River. We dig out blocks of special fine mud, which is called Slab soil by the locals. We used it as the base for the wall, and added straws eaten by the camels, cotton, and other fibers to it. After the wall got stiff, using the method of 30% of sands, 60% of soil and then 10% of dust, finally we got the wall that could be used for murals.
其实对于古代的这种艺术形式来说，我们现在已经没有人，用我们以前的古法来制作壁画，其实有特别多的难度,首先要去考察，通过一些文字的记载，从敦煌文书，通过这些文字，我们做了很多试验，从流经莫高窟的一条河，叫大泉河，挖掘出那种特别细腻的泥块，当地人叫澄板土，用这个澄板土去做墙面的这个基底的制作，然后这个上面它会加入当地骆驼吃的麦秆，棉花,包括一些别的纤维，它让整个墙面变得坚实，完了之后，再用我们现在所说的，像三沙六土一分灰这样的古法，最终处理出能用于制作壁画的这个墙面.
00:02:45-00:03:36
I was especially excited at the moment when I decided to finish the film with clay plates.The work we finished in Dunhuang is called Mogao sunglow, which tells a story of Xuanzang’s journey to the West, heading to India. Modern people don't know how Xuanzang is really like. He was a special figure with a firm and indomitable spirit, and rather sacrificed himself to pursue dreams. I think he was a great example for us to follow.
I was especially excited at the moment when I decided to finish the film with clay plates.The work we finished in Dunhuang is called Mogao sunglow, which tells a story of Xuanzang’s journey to the West, heading to India. Modern people don't know how Xuanzang is really like. He was a special figure with a firm and indomitable spirit, and rather sacrificed himself to pursue dreams. I think he was a great example for us to follow.
在决定用泥板来完成这个片子之后，在那一刻我特别兴奋,在敦煌驻地完成的作品，我们的名字叫《莫高霞光》，讲述的是玄奘西行，去往印度的一个故事，对于我们现在的人来说，已经不知道这个真正的，他（玄奘）的一个人物形象是怎么样的，他是一个非常特别的人物，他身上有特别多我们先民特别伟大的一个精神，坚韧不拔，舍身求法，不惜生命去追求自己内心的一个声音，我觉得是特别值得我们现代人，去追寻的一个精神，就是中国脊梁式的一个精神.
00:03:37-00:04:28
I want to turn it into a documentary, stationary art project， try to restore a real situation as much as possible, especially through this art techniques, and present the character to show the audience today.(See the glow, Exhibition at Shanghai Museum of Contemporary Art)For example, the wall I am painting on right now, is made of mud from Dunhuang, Slab soil. Mix it with water, and it looks like the color of the ancient ochre, the color of nature, a sense of Dunhuang, a smell of mud.
I want to turn it into a documentary, stationary art project， try to restore a real situation as much as possible, especially through this art techniques, and present the character to show the audience today.(See the glow, Exhibition at Shanghai Museum of Contemporary Art)For example, the wall I am painting on right now, is made of mud from Dunhuang, Slab soil. Mix it with water, and it looks like the color of the ancient ochre, the color of nature, a sense of Dunhuang, a smell of mud.
我会特别想把它变成一个实时的，一个驻地的艺术创作项目，尽可能地还原到真实的一个情况，特别是通过敦煌的这种艺术手法，把这种品格展现给今天的观众,(见霞光
上海当代艺术博物馆展览现场)比如我现在在画的这个墙面，是用敦煌的泥巴,澄板土，调成的一个我觉得类似于泥巴水这样的一个状态，来完成很多的墙面绘画，看上去它特别像我们古代的就是赭石的那种颜色，它其实就是自然的颜色，属于有敦煌气息的，有一种微微的一种泥巴的清香.
00:04:32-00:05:34
I think, to Dunhuang itself, it is a huge treasure; but for such a treasure, time is the biggest enemy. The color will slowly go off, and there will be some mural diseases over the time; some of the things are irreversible. To us, it is our responsibility.Through research and art recreation, we try to represent the core elements of Dunhuang to a wider group of people, especially our children. I think it is what we can do to promote Dunhuang culture. I think the work is very meaningful. I saw you in the light of history.
I think, to Dunhuang itself, it is a huge treasure; but for such a treasure, time is the biggest enemy. The color will slowly go off, and there will be some mural diseases over the time; some of the things are irreversible. To us, it is our responsibility.Through research and art recreation, we try to represent the core elements of Dunhuang to a wider group of people, especially our children. I think it is what we can do to promote Dunhuang culture. I think the work is very meaningful. I saw you in the light of history.
对于敦煌本身来说，我觉得，它是一个特别巨大的宝库，但对于这样一个宝库来说，时间是最大的一个敌人，它会随着时间，颜色会慢慢地有一些剥落，或者说壁画会出现一些病害，有些东西我觉得是不可逆的，而对于我们创作者来说，我觉得有一份义务吧，我觉得是敦煌最核心的一些元素，我们通过学习再去做艺术的加工，艺术的再创作，通过这样的方式让更多的人去看到，呈现到更多的地方，尤其是我们的孩子们，能够通过我们的作品，看到敦煌的一个光彩，我觉得这可能是我们可以做的，让敦煌能继续传播的一些事情，而且我觉得这个工作，本身会特别有意义，在历史的霞光里遇见你.
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