Research On The Murals Of Bori Temple In Nangqian County

Yul-hruvu is located in the Mdo-khams area of eastern Tibet and has always been a weak area for the study of the history,culture and art of Tibetan Buddhism.The sBu-ri-dgon mural is located in Nang-chen,an important town of Tibetan Buddhism in southern Yul-hruvu,adjacent to Chab-mdo.It is the remnant of the late Sakya-pa important fresco found in Yul-hruvu.The remaining 26 murals of the existing murals,and their artistic style is not only the conservative Sakya tradition,but also the new characteristics under the revolution at that time,both local characteristics.It is a unique case in which we recognize the regional style of A-mdo and Yul-hruvu under the changing tide of art.Through it,we can understand the important characteristics of the Sakya art in the eastern Tibet after the transition to modern art style.Based on the first-hand observations of the sBu-ri-dgon field visits and the historical and religious backgrounds of Yul-hruvu,this article studies the content,times,and artistic style of the sBu-ri-dgon frescoes.Defining the close relationship between sBu-ri-dgon and Sakya-pa,especially with Ngor-dgon through the history of Sakya-pa in the Yul-hruvu area,the space-time distribution of monasteries,and the simple situation of sBu-ri-dgon.The sBu-ri-dgon relics and fresco zoning are the starting points for more detailed image studies of their murals.And preliminary interpretation of the spatial distribution of the murals and religious meaning.Then the art style of these murals was analyzed in terms of color,layout and line modeling.Finally,this article reveals the artistic style and origin of sBu-ri-dgon murals,and concludes that the murals were created in the late seventeenth Century to eighteenth Century.These conclusions are based on the comparison of sBu-ri-dgon murals with other Thangka and murals,These conclusions are based on the horizontal and vertical comparisons between the frescoes in sBu-ri-dgon and other frescoes and thangkas in other regions,including: Sakya-pa early murals and thangkas,the frescoes in the Great Hall of the sDe-dge Sutra(a Sakya monastery)in Khams,murals and thangkas from Potala in central Tibet and the frescoes in the northeast of A-mdo.We found that investigations into the temples of the Qing Dynasty in the area between Yul-hruvu and Khams region are still insufficient,and research data are scarce.We need to conduct more extensive research on the sites and murals of this period to understand the artistic appearance of the Tibetan areas in the 17 th to 18 th centuries(the entire transitional period of Tibetan art)and the subsequent differentiation of artistic styles,as well as the relationship between Eastern Tibetan art and its surrounding art styles.It is hoped that through this study,more attention will be paid to the protection and research of the temple fresco art in the Qing Dynasty of Yul-hruvu and even the entire eastern Tibetan region.