Research On The Character Ornaments In The Murals Of The Main Hall Of Fanshi Princess Temple

Shanxi has rich historical and cultural heritage,cultural accumulation.It has been a Buddhist holy land since the Wei and Jin Dynasties.Due to its geographical advantages,the ancient religious buildings in Shanxi Province have been well preserved.The existing number ranks first in the country,and the number of murals painted in the religious buildings is also quite large.Recently,with the increasing attention paid by the state to the excavation,protection and inheritance of cultural heritage,the subjects of Shanxi temple murals emerge in endlessly,and the subjects of Princess temple as a case study are not rare.The previous scholars’ research on the overall field,religious origin and mural composition of the princess temple has successfully constructed the macro background of the princess temple system research.Therefore,this study will standing on the shoulders of giants to deeply explore the nuance of the ornaments of the painted figures in the murals of the Main Hall of Fanshi Princess temple.The full text can be divided into two parts.Using the methods of literature research,field investigation and case analysis to study the character ornaments depicted in the murals of the main hall of Fanshi Princess Temple.By analyzing the content of murals,explored the reasons for the similarities and differences of jewelry shapes worn by the same type of characters.After that,the names of some decorations for some characters were determined,the representation of the interaction between religion and secular culture in the Ming Dynasty were looked,the design idea of jewelry has been excavated.The first part traced the background of the research object.The second part analyzed and explained the design of character jewelry in murals.Firstly,the article constructed the macro background of the research by summarizing the murals of Princess Temple and its main hall.Then,through studied the origin and development of Shui-Lu rites and its paintings,sorted out the pedigree and hierarchical order of characters in this system.Besides,though taking the description of the scene of the Shui-Lu rites in the classical novel A Dream of Red Mansions as a clue,this paper made a textual research on Shui-Lu rites and its text,completed the establishment of the significance of the research object.Taking the Yingluo of Bodhisattvas as examples,the modeling language and design elements of them were summarized and analyzed,six shapes and fourteen common decorative elements had been sorted out.In the process of discriminating the shapes of crown ornaments and hair ornaments of some characters in the murals,it it found that the Li Fen Tie Jin technology(a traditional Chinese mural decoration technique)in the murals can truthfully reflect the real material of the ornaments of the Ming Dynasty.Based on this discovery,this paper identified and classified the decorations of the characters in the murals,by comparing the literature records and archaeological unearthed cultural relics.In the end,two conclusions were obtained.Firstly,the hierarchical order of characters in the Shui-Lu rites has a great impact on the decoration of the murals,but there is no absolute restriction.Secondly,compared the murals with the unearthed cultural relics of the Ming Dynasty(AD 1368-1644).It is found that the shape and material of the character’s headdress in the murals could reflecting the original appearance of the ornaments to a great extent.As the case in the text,the women’s Tou-mian and the lotus crowns of Taoist figures both can be found in the cultural relics unearthed from the tombs of the Mu family of the Ming Dynasty in Jiangning District,Nanjing.Moreover,the shape of the Liang Guan painted in the mural is almost the same as the Wu-Liang Guan,which is now hidden in Shandong Museum.This discovery can be regarded as the innovation of this study,and it will both help for research on jewelry in Ming Dynasty and the restoration of cultural relics.