The Study Of The Shuilu'an And Its Painted Clay Sculpteres Art

The ancient Chinese Buddhist painted clay sculptures are difficult to separate from the national characteristics of freehand spirits.They are mainly manifested in the subjective and objective fuzziness of aesthetic mood.Sculpture and painting developed basically after the Jin Dynasty,but later generations had crossed of the two aspects in freehand brushwork.In the history of Chinese religious art,the painted clay sculpture of the land and land is placed in the history of Chinese religious art to examine the continuity and the integration and innovation of the painted clay sculpture art form in a specific historical period.While paying attention to the objective narration and historical facts of the painted clay sculpture images,the author emphasizes the emotional color of the investor of Qin Prince and the freehand factors and spiritual orientation embodied in the Shuilu'an Temple.The main contents of this article are four parts.In the first chapter,we comb the historical system of Shuilu'an and its image,and classify the walls.There are clear years of repair and Shaanxi Province sculpture craftsmen,which provide the exact time and regional style for the study of painted clay sculpture.In the second chapter,we make an overall analysis of the painted sculpture images of the sacred water Hall of the Shuilu Pavilion,and analyze their artistic style from the description of reality,content investigation and painting technique.The third chapter puts the painted clay sculpture in the Shuilu'an Temple in the specific cultural context of the Ming Dynasty,and makes a specific image analysis of the Buddhist stories of the north and south walls,The three Bodhisattva and a group of larger statues of the Twenty Four Divine Guardian.and explains the freehand factors and the reasons for the breakthrough of the rituals,the natural disasters in the Jiajing period,the life experience and spiritual needs of the Prince of Qin.Influence,In the fourth chapter,we study the painted clay sculptures of Shuilu'an Temple,in order to borrow the past and open the present.Chinese ancient Buddhist painted clay sculpture is the embodiment of multicultural blending.Its creative thinking is at the same time as a "object",and canbe "ideographic".It examines the history of the painted clay sculptures in the Shuilu'an Temple and the meaning of many of the Qin Prince in metaphor,and analyses the artistic creation laws and freehand brushwork in traditional Chinese concept of Shuilu'an painted clay sculptures line and color use for reference to chinese art creation.The article takes the painted clay sculpture of Lantian and Shuilu'an Temple in Shaanxi as the eye point,as far as possible to restore to the historical environment of the last year of the Ming Dynasty,from the relationship between the times and the regional background,the aesthetic orientation of the Prince of Qin and the creativity of the craftsman.Through the combing of the image,it clarifies the law of artistic creation and the direction of the spirit of freehand,and further advances the study of the painted clay sculpture image of the Shuilu'an Temple and provides nutrition and support for the present Chinese art creation.