A Study On The Aesthetics Of The Sculptures Of The Northern Song Dynasty In Shanxi

The accurate expression of Song Dynasty Sculptures in Shanxi should be the Painted Sculptures of temples in the Northern Song Dynasty in Shanxi.In terms of time and space,the Song Dynasty in Shanxi only ended in the Northern Song Dynasty,while in types and terms of sculpture styles,the sculptures of the Song Dynasty in Shanxi were mainly temple painted sculptures.Temple painted sculptures are the main religious sculpture form in our country after the early large-scale cave temple sculptures in northern China.The temple statues in the Northern Song Dynasty have undergone a transformation of idol worship,breaking through the original religious etiquette system,and tending to show the general phenomenon of concrete and vivid people,which means their artistic and aesthetic characteristics have changed from highlighting the magnificence of idols in the Sui and Tang Dynasties to pursuit the specific and subtle,elegant idol portraits.The pursuit of idol portraits is specific and subtle,and elegant.The existing painted sculptures of the Northern Song Dynasty temples in the mainland of our country are seriously damaged,while only the remains in Shanxi are large in quantity,high-quality,well-preserved,comprehensive in types,and self-contained,which are an important part of the painted sculptures of the Northern Song Dynasty temples in my country.This article selects the most representative Jinci Temple painted sculptures in Song Dynasty and Chongqing Temple painted sculptures in Song Dynasty.Based on field investigations,this article explores the origins and changes of religious ideas contained in the subject matter and analyzes the artistic aesthetic characteristics and differences of their specific statues.Thereout it deconstructs the unique aesthetic implication of Shanxi painted sculptures in the Northern Song Dynasty and its contribution to the history of Chinese aesthetics.Therefore,we can have a deeper rational understanding of the historical and humanistic value of Shanxi painted sculpture art in the Northern Song.In addition to the introduction and conclusion,the research content of this article includes five chapters:Introduction: The research combines and analyzes the previous academic achievements of Shanxi’s painted sculptures in Song dynasty and its aesthetics,and summarizes the main problems currently existing.One is that the research on Shanxi’s painted sculptures in Song dynasty is not rigorous and in-depth,while the other is the study of aesthetics research of Shanxi’s painted sculptures in Song dynasty is obviously weak.On this basis,the specific research objects,content and ideas of this article are determined.The first chapter is the historical background of the painted sculptures in the Song Dynasty in Shanxi and the selection of typical examples.The Two major aesthetic trends led by Neo-Confucianism and Zen were formed for the reason that the Northern Song Dynasty was relatively unified,and politically,literature was advocated while martial arts were suppressed,when the economy was developed and the arts were prosperous,and the biggest cultural feature was the philosophization of Confucianism and the secularization of religion.Due to the interlocking influence of war,economy,culture,etc.,the relics of painted sculptures in Shanxi during the Northern Song Dynasty were mainly concentrated in Taiyuan and the southeastern part of Shanxi.Therefore,this article selected the most typical painted sculptures in Jinci Temple in Taiyuan and Chongqing Temple in Changzhi in Song Dynasty as research objects.Chapter Two,the aesthetic features of the Northern Song painted sculptures in Jinci temple.1.Based on field investigations and related documents,this article determines the age of the creation of the statue of the goddess and her attendants in the Goddess Hall.2.Investigation and textual research on the architectural space of the Goddess Hall and Song Dynasty painted sculptures,and a textual description of each Song sculpture in the hall.3.This article analyzes the subject style of the painted sculptures in the Song Dynasty of the Goddess Hall,and makes textual research on the identity of the main image of the goddess and determines that it should be the god of Jinyuan,while explores the style of servants’ portraits mainly comes from the popular palace ladies in the paintings of previous generations.4.This article analyzes the artistic characteristics of the painted sculptures in the Song Dynasty of Goddess Hall,which has the aesthetic characteristics of orderly layout,realistic and delicate modeling,as well as complementary colors in color.Chapter Three,the aesthetic features of the Northern Song painted sculptures in Chongqing temple.The combination of the subject matter of the Bodhisattva statues and the eighteen arhat statues in the Three Sages Hall of Chongqing Temple is a typical representative of Buddhist secular statues in the Song Dynasty.1.This article determines the age of the statues of the painted sculptures in the Song Dynasty in the Three Sages Hall based on field investigations and related literature.2.Investigation and textual research on the architectural space of the Three Sages Hall and Song Dynasty painted sculptures,and a textual description of each Song sculpture in the temple.3.This article analyzes the subject style of the painted sculptures in the Song Dynasty of the Three Sages Hall,based on relevant Buddhist scriptures and principles,it is confirmed that the combination of the Three Sages is the secularization of the belief of the Huayan Three Saints,and the beliefs and statues of the eighteen arhats are the promotion of the blessings of Buddhism in the world.4.This article analyzes the artistic characteristics of the painted sculptures in the Song Dynasty of Three Sages Hall,which has the aesthetic characteristics of balanced symmetrical arrangement and realistic and elegant shapes.Chapter Four,the aesthetic meaning of the painted sculpture of Song Dynasty in Shanxi.Based on the analysis of Jinci Temple and Chongqing Temple’s Song Sculptures,1.From the perspective of aesthetic ideals in the combination style of different religious subjects,it demonstrates that Shanxi Confucian and Taoist sculptures have the characteristics of harmony and moderation,while Buddhist sculptures have the characteristics of balance and equality.2.From the aspect of secularized image shaping,it expounds that Shanxi Song Sculptures have the aesthetic connotation of forms written by gods,unity of diversity and vivid artistic conception.3.In the aesthetic pursuit of situation creation,it is discussed that Shanxi Song Sculptures have the aesthetic characteristics of restrict subjective emotions with objective reason and being based on image.Chapter Five,the unique value of Shanxi Song Dynasty painted sculpture to the history of Chinese aesthetics.1.The painted sculpture art of the Song Dynasty in Shanxi is a reproduction of the aesthetic thoughts of Confucianism in the Northern Song Dynasty.It is in the art of Jinci Song sculpture that the Confucian aesthetic spirit of study the phenomena of nature in order to acquire knowledge runs through.While in the idol worship of the Goddess Hall,it is permeated with the Confucian internal saints and external kings and the ideals of life of construction of a harmonious society.2.The painted sculpture of Song Dynasty in Shanxi is the reproduction of the integrated Buddhist and Confucian aesthetic thoughys in the Northern Song Dynasty.The painted sculpture art of Shanxi Buddhism in Song Dynasty represented by Chongqing Temple,which embodies the harmonious aesthetics between Buddhist sects and between Buddhism and Confucianism.In the idol worship of the Three Sages Hall,it conveys the conscious personality of Buddhism and the ideal life of co-governance with Confucianism.In the history of Chinese aesthetics,the painted sculpture of the Song Dynasty in Shanxi has certain value significance with its unique aesthetic features.In conclusion,the changes in the artistic styles of religious statues and the conversion of aesthetic ideals are subject to the influence and demands of a particular era.The subject combination styles of the painted sculptures of Jinci Temple in the Song Dynasty and the aesthetic characteristics reflect the leading thought of the court in the early Northern Song Dynasty to rebuild the authority and order of the country.The composition style of the painted sculptures in the Song Dynasty of Chongqing Temple and the aesthetic pursuits reflect that after Confucianism established the dominant position in the middle and late Northern Song Dynasty,the Buddhist Sangha,in order to strive for equal status with Confucianism,shifted from the pursuit of the other shore world to the real world,and then put forward the harmonious thought of co-governance by ruling the mind with Buddhism and ruling the world with Confucianism.The painted sculptures of the Song Dynasty in Shanxi are rooted in the specific historical situation,constantly developing and changing,and show the splendor of the times with their unique artistic styles and abundant aesthetics characteristics.