Study On The Secularization Of Ming-Sculpted Lohan In Guanyintang Of Changzhi

The Guanyin Hall of Changzhi is located in the east of Liangjiazhuang Village,Changzhi City,Shanxi Province.It is located in the southeast of Shanxi.It sits east to west and has two entrances.There are Shanmen,Tianwang Hall,Xiangting Hall,Guanyin Hall,Bell and Drum Tower,and North and South Side Hall.Inside the temple.According to the inscription "Reconstruction of Shanmen Opera House",the time of the establishment of Guanyin Hall is exactly recorded: "Culture has roots,civilization has fate,it is also courteous and happy,and the ancient temple is a Jian.There is a temple called Guanyin Hall in Liangjiazhuang,a suburb of Changzhi.Ming Wanli eleven years..." Through the content of the inscription and the description of the villagers and the description of the merit book of the Guanyintang statue,the creation of the Guanyintang with the confluence of Confucianism,Buddhism and Taoism is a personal act.The Guanyin Hall's suspended plastic layout is on the north and south walls.It is roughly divided into four layers from bottom to top.The first layer is an image of eighteen Luohan,the second layer is the image of twenty-four heavens,the third layer is the image of twelve circles,and the fourth is The floors are the statues of Confucian and Taoist figures.There are about four hundred statues.They are small in scale,but they are delicate and strange.On June 25,2001,it was approved by the State Council to be included in the fifth batch of national key cultural relics protection units,which preserves its cultural value to the greatest extent.It can be regarded as a gem of hanging plastic in the Ming Dynasty and an outstanding product of the Shang culture.The figurative art of the Ming Dynasty is a deliberate pursuit of true details and a response to worldly aesthetic tastes.Because there is no clear stipulation of the image of Luohan in Buddhist classics,and the continuous combination with social folk culture,the image of Luohan is extremely secular.The eighteen Luohan statues in the Guanyin Hall of Changzhi is a prominent representative.The Luohan statues no longer have the solemn and mighty temple ambitions of the Buddhist statues when they were first introduced to China.They exaggerate the exposed facial expressions of life and raise their hands to show highly performative body language.It has a lively and lively atmosphere and a kind and real worldly taste.There are no too many limitations in the sculptural technique,nor does it deliberately correspond to the individual characteristics of Luo Han.Perhaps the craftsmen at that time must have been imaginatively shaped according to the image in their hearts,and strived to make them amiable in front of the people.It is in line with Buddhist teachings.The so-called cultivation of the Arahant Fruit is universal for everyone,and the distance between divinity and humanity is closer and closer.,Kind,strong worldly meaning.This article is a case study of the secular features of the eighteenth Arhat in the first floor of the Guanyin Hall in Changzhi City,Shanxi Province.It is divided into five parts.The first part is an introduction,which mainly introduces the research source and current research status,the research situation of Luo Han statue at home and abroad,and the shortcomings of research methods and articles.The second part is an overview of the name and layout of the Ming-shaped Luohan statue of Guanyintang in Changzhi.The third part shows the secular characteristics of the statues,themes,and thoughts of the Luohan Statue of Guanyintang in Changzhi.The fourth part is compared with the Luohan statue of the eldest son of Chongqing Temple in the same area and the Luoyang statue of Yanggao Yunlin Temple in the same period.The fifth part discusses the influential factors that caused the secularization of the Luohan statue of Guanyintang in Changzhi.The third part is the key part of the article,which is detailed.This article will use the methods of iconography,case analysis,philology,sociology,etc.to discuss the secular characteristics of the Luohan Statue of Guanyintang in Changzhi and summarize its influencing factors.As a researcher of Buddhist statues,the author deliberately explores its secularization characteristics and analyzes the driving forces that have led to its continued secularization.To sum up,this article selects the secularization of the Ming and Susan of Guanyin Hall in Changzhi as the research content of this article.