Author(s)

Jingwen Qiu, Zhiji Zhang, Tiewa Cao

Corresponding Author

Jingwen Qiu

Abstract

Different expressions of space, pattern, and color reflect different artistic connotations and intentions. The special figure composition of Guanyin Pavilion murals, the interaction and spatial relationship between array characters in the painting, and the internal psychological space created by sixteen portraits of Arhat enrich the spatial concept of Guanyin Pavilion murals. Different from the three-dimensional spatial representation of linear perspective under western visual technology, the spatial representation method of special nonlinear perspective in Guanyin Pavilion murals is closely related to the Buddhist theme advocated under the specific social background of Yuan Dynasty. Behind the artistic expression of mural composition, pattern elements and color design are the special social context of this period and the visual reflection under the rule of ideology and culture. To a great extent, it reflects the thought of the rulers. In the artistic creation with certain restrictions, the meaning of the content given by the society or the ruling class was hidden behind the visual expression of the image. Space, patterns, colors, etc.are deeply restrictive and symbolic. Therefore, as carrier with strongly moralised intention, the murals of Guanyin Pavilion in Dule Temple are also of far-reaching significance. The analysis and research of composition, spatial relationship, pattern and color design under the influence of social ideological and cultural system in this period are the core of this thesis.

Keywords

Buddhist murals; Moralization function; Spatial structure; Psychology of art