Space Expression And Meaning

The Jingbians is a very special kind of painting that appeared in Chinese history, because it is created and firmly attached to the Scriptures (including the scriptures and the notes, records, etc.). There were many kinds of Jingbians recorded in historical documents, but the creation of the the Western Pure Land Bian is compelling. Especially in the Tang Dynasty, not only the eminent monks participated in the creation of The Western Bians, but also the masters of painting, and the number is considerable, but unfortunately they are not handed down. Fortunately, Dunhuang is located in the remote place and could get away with turmoil of all the past dynasties. It kept a large number of Western Bian images, and could form a complete pedigrees.In such a favorable context, this thesis takes the expression of the Pure Land space as the head and the main part, "how to paint" and "how to look" as the two basic dynamic lines of writing. The understanding, generation and conversation of the concept of heaven bliss of Chinese people in the Middle Ages becomes the foothold of this thesis, and a reasonable explanation of the implied meaning of the images is ultimately realized. This thesis is divided into five chapters. The first three chapters mainly talks about the basic outlook and the development law of the Western Pure Land Bian in various historical periods and different regions, and its potential influence of Amitabha pure land doctrine. This thesis includes two main elements:first, the historical evolution and law of the Western Bian's Pure Land space; second, in the Amitayur-buddha-dhyana-sutra bian of the preface and main body, the evolution and law of the composition mode of the unborn resentment and the sixteen Visualization. To achieve these two research goals, at the first, the author analyzes, judges, and argues the Amitayus-vyuha bian, the Amitayur-buddha-dhyana-sutra bian, Amitayu,sa-vyuha bian, carefully reads the classics and images, and reanalyzes. The fourth chapter takes the mature Illustrations to the West in the middle Tang Dynasty as the slice sample on the vertical axis. It analyzes the construction model of the Western Pure Land space, using the inspection thought which is embodied in ancient Chinese painting theory, deepens the expression of space, and brings up the conception of "the steps of visual" to observe and interpret how the Chinese medieval artists dealt with the continual depth of space. On this basis, this thesis explains all the design details of the illustrations and the special partition logic of the overall wall. The fifth chapter is based on the above discussion, and observes that the Western Bians have become a "mother type", which have strong effects of radiation on the Maitreya Bians and the Yaoshi bian that both belong to "pure land" Jingbians. This chapter comparatively studies the West Bians and the Jingbians which are affected by the West Bians. This thesis observes how a heterogeneous image accepts effects and how to establish self-identity, and finally concludes the time object of the development and change of the Maitreya, Yaoshi Bian and other related Jingbian.The Pure space has experienced the development course from from simple to complex, abstract to concrete, from the natural world to the monastery. The changes of this illustration space reflect that with the study of Amitabha doctrine, the Chinese's concept of ideal heaven changes from illusory Huatu into real Baotu, and that gradually becomes clear, rich and perfect. To the middle of Tang Dynasty, it basically completed the construction of heaven, implied that Buddhist temples are Pure Land and that one must practice according to the rules and can realize the ultimate ideal of going to the Elysium.