A Study On The Artistic Images Of Colored Sculptures In Lantian Shuiluan

Lantian Shuilu nunnery in Shaanxi Province,with its exquisite architectural complex and more than 3700 painted statues of various sizes in the water land hall of the sages,together constitute the grand and magnificent Buddhist world.In particular,the colorful sculptures in Shuilu Temple highlight the inherent charm of Shuilu nunnery.It can be said that these colored sculptures are extremely precious resources for the study of ancient Buddhist art and colored sculpture art in China,and have a high value of art culture and cultural relics and historical materials.Because of these colored sculptures,Shuilu nunnery is gradually concerned by all walks of life and is known as "the second Dunhuang" In 1957,it was announced as the first batch of provincial key cultural relics protection units by the Shaanxi Provincial People’s Committee;in 1982,the Lantian County People’s Government approved the establishment of shuilu’an Cultural Relics Management Institute for special protection and research;in 1996,shuilu’an was approved by the State Council and announced as a key cultural relic protection unit of the whole country.In recent years,the research on shuilu’an and its painted sculptures has been fruitful in the academic circles.However,due to the lack of materials such as literature,inscriptions and inscriptions,various obstacles and restrictions have been brought to the studies of shuilu’an,such as the age of its founding and the identity of the painted sculptures.On the basis of previous studies,this paper discusses these core issues.The core issues of this study are the theme content,text basis and configuration connotation of the colored sculptures in the water and land palace of the sages.It mainly uses the methods of iconology and art history to analyze the composition and characteristics of images,and uses the method of historical philology to mine Buddhist classics,local historical records and related documents or unearthed articles The key information hidden in the book focuses on the analysis of the source and changes of the color sculpture of Shuilu temple,and makes a detailed comparison with other colored sculptures,murals,Buddhist prints,scroll paintings and sculpture works in Shanxi,Shaanxi and other regions,trying to construct a theoretical framework to examine the color sculpture art system of Shuilu temple as a whole.The paper consists of eight chapters.The first chapter mainly combs the status and characteristics of the development of Buddhism and Buddhist art in Chang’an area in the past dynasties,traces back the frequent Buddhist cultural exchange activities from the spread of Chang’an Buddhism to the Ming and Qing Dynasties,analyzes the characteristics of the existing Buddhist art relics in various periods,and puts the colored sculpture art of shuilu’an into the history of Buddhist cultural exchange in Chang’an.Chapter two to chapter seven is the main content of this paper.Each chapter analyzes the composition and characteristics of the color sculpture images in Shuilu temple one by one,combs the texts and rituals closely related to the color sculpture images of Shuilu temple in Buddhist classics,and searches images of the same era and the same subject matter in Shan.Shan and other areas to compare with Shuilu temple,it can be seen that most of the painted sculptures in Shuilu temple are under the influence of Huayan,fahua and pure land thought With the frequent Buddhist exchanges between Han and Tibetan after the Song Dynasty,it formed a special development situation in the painted sculptures of Shuilu nunnery.Especially in the third and fifth chapters,this paper analyzes the configuration of the color sculpture image,which is compared with the Tantra "Yoga Yankou" and "Mandala",and finally analyzes that the composition of the color sculpture has a great relationship with the Tantra ritual and mandala,which can also be regarded as the innovation of this study.The eighth chapter is to grasp the image characteristics and composition system of Shuilu nunnery color sculpture on the whole.The overall space composition should follow the tradition of building the space of Tantra Buddhism based on the Tantra.The identity and image of the painted sculpture have two kinds of "obvious and dense"images,which get "harmony" in the unified building entity space" The belief of "pure land" and the space structure of esoteric sect constitute the ideological system of shuilu’an,which reflects the thoughts of the master of merit and virtue to extricate themselves from difficulties by Guanyin and the basic form of the development of Buddhism in Chang’an in Ming Dynasty.In terms of image records,shuilu’an painted sculptures basically chose the popular Han Buddhism statue tradition in Chang’an area of Ming Dynasty.However,in terms of image configuration connotation,it also absorbed the image system of Esoteric Buddhism.The overall image inheritance and pure land belief mode in mountain and Shaanxi regions concentrated and reflected the inheritance and absorption of Mahayana Buddhism belief,Tantric belief and pure land belief in artistic creation The space setting system composed of Mandala mandala is the epitome of the history of cross regional art and culture exchange in Ming Dynasty.