Norms And Evolution: Research On The Theory And Method Of Temple Mural Paintings In Song, Jin, Yuan And Ming

This thesis is aiming to clarify causes of the standardization of Chinese traditional mural creation by analysis on temple murals from Song Dynasty to Ming Dynasty.During Tang and Song Dynasty,Mural production become systematized and standardized based on practices of earlier dynasties with the in-depth involvement of imperial involvement.The Imperial Painting Academy of North Song Dynasty,which was initiated by the court and the emperor himself,became the official pushing and executive institute to Mural planning and operating of the day.Due to the establishment and improvement of imperial painting academy system,the initiate of painting schools,and the incoporation of painting talents selecting into imperial examination system,an overall elevation has been realised on painters’cultural literacy and social status.Song Learning also made a full preparation for the peak time of the Song paintings.The rising of calligraphic painting also give huge influence on Mural produce,to become the two major Mural traditions together with imperial painting.The painting system from Jin,Yuan,Ming and Qing Dynasty all continue the Mural standard system formed in Song,which remained the general pattern with some and made some adjustment on details.The thesis develops case studies on North China murals influenced by Central Plain Culture.e.g.The murals of Kaihua Temple(开化寺)in Gaoping.Shanxi Province,of Yanshan Temple(岩山寺)in Fanchi,Shanxi Province,of Yongle Palace(永乐宫)in Yongcheng,Shanxi Province,and of Fahai Temple(法海寺)in Beijing.By comparing the difference and resemblance between murals of court,official and folk,the thesis summarize the composition,color,brushwork,techniques of layer-founding,embossed painting and gilding,as well as the traditional aesthetic ideas of paint spirit by form,make combination of form and spirit and the theory of art vitality and art vigour.Traditional murals in court and temple have always been signs of the will of the nation,they presenting the order and law,improving human relations.Since the development of humanity and civic culture from Song Dynasty,murals migrated from palaces to the everyday life of common residents.After Scholars Painting gain the dominant place in Yuan Dynasty,mural creation became the livelihood of folk artisan,murals lost the power of discourse in art history because of the deficiency of folk artisan culture.Even with the cultural revival of Song Dynasty,the social position of mural painters weren’t been improved fundamentally in Ming Dynasty,so as to mural almost vanish to Qing Dynasty from its dominate position in Chinese traditional culture.This is exactly what is called"Half of the art history was the tragedy of folk artisans".In this thesis,author tries to base on the summary of previous,in accordance with own practice and research experiences,to tease apart the mural creation methodology from Song Dynasty to Ming Dynasty to share with colleagues.