A Study Of Panyao Ceremonial Paintings

PanYao ceremonial paintings are the ritual paintings used by PanYao taoist priests in the ceremony. In rites, the PanYao ceremonial paintings play the role on explanation and direction of the ritual. These mystical paintings are still popular in PanYao community now, and exert profound influence the ideology and social life of PanYao people.From outcome of past research conducted by domestic and foreign scholars to the Yao ceremonial paintings, great achievements had been made, but through the field investigation, the works deeply focusing on systematic study of the ceremonial paintings of Yao various branches are rear. Therefore, to solve this important topic on research of Yao history and culture, the author relies on field works in the past three years, upholds the method of combining synthetic study and the case study as the instruction, bases on the first-hand information obtained in the field investigation, to feature a preliminary theoretical research and explanation on Pan Yao people's ceremonial paintings. Pan Yao people dwelling in Guangxi Jin Xiu prefecture is an important branch of Yao ethnic group. Followings are the main contents and the viewpoints of this thesis.First chapter is the brief introduction about the survival geological surrounding and cultural space of PanYao ceremonial paintings, including village geography evolution, population distribution, production activity, Social organization and village political organization of the villages. Next, we introduced comprehensively the research situation of the PanYao ceremonial paintings in china and abroad, and feature out the missing sections in ceremonial paintings research currently. Finally, we introduced the study method and fieldwork method.In the second chapter, we mainly discuss the manufacture of PanYao ceremonial paintings. It usually includes five aspects: the artist, drawing tool and color, drawing process, decoration, ritually opening to public. The entire drawing process of ceremonial paintings is actually also a ceremony process, is the process to respect and warship the spirits.In the third chapter, we analyze the ceremonial paintings'general characteristics and contents, these ceremonial paintings include: San -qing, Yu-huang, Sheng-zhu, Tian-shi, Yuan-shuai, Jiang-jun, Shi-dian-yan-luo, Hai-fan, Ba-tan, Tai-wei, Yang-jian-shui-fu, Tian-fu-di-fu, Shi-zhi-gong-cao, Hang-si,Jia-xian, Jian-zhai, Yang-cai, Wu-qi-bing-ma, Da-dao-long-qiao and Masks。Finally, we analyze the characteristics of deity system of the PanYao ceremonial paintings.In the fourth chapter, author classifies studies and explains various kinds of graphics which are in the PanYao ceremonial paintings. There are seven categories: Character, utensil, house, animal, natural object, clothing, and symbol.The fifth chapter introduces usage of PanYao ceremonial paintings. In this chapter, the author focuses on the description of ceremonial paintings'function in the DuJie ceremony and the funeral ceremony. In the sixth chapter, author concentrate on analyzing the goal and social function of ceremonial paintings'drawing, and hold that ceremonial paintings is the paintings of deity worshiped by PanYao, is the medium of the PanYao taoism ceremony, is the repeating of the PanYao'fable story, is the description of the PanYao'taoism ceremony, is the tool of cognition and the enlightenment, it is also used by Pan Yao as method of culture dissemination and communication.In the seventh chapter, author taps on origin of the PanYao ceremonial paintings. The PanYao ceremonial paintings is thought of originating from the Taoism ceremonial paintings in Tang and Song dynasty. Yao people changed the Taoism ceremonial paintings and introduced some Yao local god to those paintings, and gradually the PanYao ceremonial paintings we saw today formed.In the eighth chapter, author expounds PanYao ceremonial paintings in the angle of anthropology, and believe that PanYao ceremonial paintings is the printers'persistency of faith on religion, is reflection of the taoist priests'religious status, is the expressive center of PanYao's religion art, is the expression of PanYao's world view. Furthermore, PanYao ceremonial paintings are a group of symbols in signify system, and has functions to integrate community.In the ninth chapter, author discusses the ceremonial paintings'esthetic consciousness and artistic characteristic, and say the ceremonial paintings has a beautiful content and form, it is the unity of goal and utility, manifests the implicational beauty of picture and the unique formatted beauty, displays the multi-colored fairy world.In the tenth chapter, author compares PanYao ceremonial paintings with ceremonial paintings of ChashanYao, Shanzi Yao, Han Nationality as well as the She's "Ancestor painting", and points out that those paintings from various sources have not only similarities but also respective characteristics, shows that they are all different branches originating from same source.In conclusion, author thinks the ceremonial paintings are the result of interaction of Taoism ceremony system and the Yao culture. The result of this article indicates the discovery and research in culture resources of Pan Yao ceremonial paintings, in one hand, uncovers ethnic groups lived in southern china an rear-known story in their painting history, is helpful in verifying status and historic importance of Yao's ceremonial paintings in Chinese Taoism painting art; in the other hand, further enriches the content of contemporary Yao study, and opens a new way for it's future relevant research.