Flying Buddhist Chants

The term "Fiber Art" firstly appeared in the US in the1970s. After decades of development, it has already broken through the initial process and materials of traditional tapestries and its expression format transfers from wall format to bas-relief format and finally to a fully3D morphology. This development of fiber art is amazing and what is more amazing is that in fact this young and old art format, which is part of Chinese Buddhism appliances, has already shown us, in a more spectacular way, the development of various forms of fiber art as well as how the fiber art and interior space perfectly combine together. It is worth us to study and learn.I decide to focus on the fiber art of Buddhism appliances in Zhejiang monastery hall.The first chapter describes the various expression formats and aesthetic characteristics of specific fiber art and this lays the foundation for the study of fiber art in Zhejiang monasteries.The second chapter focuses on the special expression formats of fiber art which can be found commonly in Zhejiang monasteries, for example, the streamers in the wall and suspending format, flags in suspending format, canopy and Buddha curtain in the suspending format, as well as three-dimensional futon.In Chapter3, the aesthetic characteristics of fiber art, such as streamers flag, canopy, Buddha curtain, futon and so on, in Zhejiang monasteries were analyzed from4aesthetic aspects:material beauty, texture beauty, color beauty and format beauty. The format beauty of this fiber art is mainly analyzed.The fourth chapter summarizes the influence of fiber art on Zhejiang Buddhist monasteries. It does not only have the function to decorate monasteries, but also can short the distance between common people and Buddhism via its natural affinity, which can promote the spread of Buddhism.The fifth chapter summarizes what inspiration we can get from the fiber art in Zhejiang Buddhist monasteries:firstly, it focuses on "to communicate via art format"; Secondly, its format, which is easy to roll and unroll, makes it easy to transport and save; Thirdly, the use of a variety of forms of fiber art in combination; These are all worthy models which should be studied and learn by modern Chinese designers.In Chapter6, different expression format and aesthetic characteristics of fiber art in Zhejiang Buddhist monasteries as well as the future impact and the inspiration for us of Zhejiang Buddhist monasteries are summarized.