"Dharma Perpetuating" In The "Dharma Ending" Hall

The core problem of this paper is that Mani Hall is a relic of the Northern Song Dynasty,it seemed to be built to meet the advent of the end of the law era.More than 400 years later,after new allocation of Ming Dynasty,"Dharma" can be kept "forever" in the Dharma Ending hall.This paper attempts to explore the special religious meaning of the beginning of Mani Hall,the content and disposition of the new images in the Hall during the period of Ming Dynasty,especially the powder,the Buddhist scriptures and the ideas of the "Disseminating the Dharma" of the mural about the life story of Buddha.On one hand,this paper mainly uses the methods of image to analyze the image composition and characteristics,pays attention to the analysis of the source of images,and compares them with the images of same tine but different regions,same region but different time,different times and different regions.;on the other hand uses the method of historical philology to excavate the key information hidden in the ancient local Chronicles,Temple Records and inscriptions.At present,the study of the painting about life story of Buddha in Ming Dynasty often focus more on the interpretation of the relationship between Buddhist art and secular factors,emphasizing the influence of secular factors on the subject matter,but rarely return to the nature of such subjects.However,the original and ultimate aim of the generation and development of Buddhist story-drawing is to ensure the inheritance of Buddhism.Comparing with other general "Chinese" murals about the life story of Buddha Buddhist temples in the Ming Dynasty,the mural in the Mani Hall returned to the "Dharma" source instead.It was always keeping a pious heart of Buddha and Dharma.This is fundamental difference between the mural of the Mani Hall and others in the Ming Dynasty.The text is divided into four chapters.The first chapter briefly describes the geographical location and layout of the Longxing Temple,the structure of the Mani Hall,analyzes the religious connotation the Mani Hall and the thought of "Dharma Ending" at the beginning of it.The second chapter expounds the new layout of the Mani Hall in the Chenghua Period in the Ming dynasty.I want to try to discuss theway of image collocation and its intension in the hall,and focus on the textual research,identification and interpretation of the contents of mural.I also attempt to explore the principal and social background of it.The third chapter is a case study of the textual basis and source of individual images,analyses the powder of the murals,and analyzes the "law-live" thoughts contained in them.