A Comparative Study Of Bural Between Meidai Temple And Wusutu Temple

After the middle of the 16 th century, Tibetan Buddhism culture was the result of political incentives from the Mongolian steppe again, and it was used to hang on to power by the later generations of Yuan. Ming and Qing dynasties was the "sovereignty" government, so they more value in the political position of Mongolian people, and more support to the Tibetan Buddhism. Buddhism was introduced into not only brought new religious thought to grassland, but also blended the Mongolian, Tibetan and Han culture into another, varieties of culture in Tu mote region made prairie life mode of production has changed. Then the Mongolian prairie widely built Buddhist temples, according to the relevant literature, we know that early years of the republic of China in the late Qing dynasty, the spread of Tibetan Buddhism in Mongolia area reached the peak, Buddhist temple had more than1600 seats. After hundred of years man-made destruction, some temples are died out. Others are survived, and they are valuable.As the construction of the temple, temple mural art produces andflourishes in grassland areas. Tibetan Buddhist mural art in grassland areas learns from other varieties of culture, and makes the Mongolian mural art present a new and unique artistic style. Painters ably to the central plains painting techniques and aesthetic temperament and local interest mix in the traditional Tibetan Buddhist murals, which not only improves the Mongolian murals draw technology, also enriches the artistic features of Mongolian murals, and causes a unique "Mongolian style".Tibetan Buddhist murals of Inner Mongolia are mainly distributed in The Great Temple, Fa Zuo Temple, Wu SuTu Temple of Hohhot.Mei Daizhao mural and Wu dangzhao Monastery of Baotou etc. And MeiDaizhao muraland Wu SuTu Temple are representative of very strong ethnic characteristics.In the murals of MeiDaizhao mural "The Andahan family ceremony map" is gorgeous and colorful. Complex and fine mappingtechniques make the murals of exquisite. Especially on the processing of character used the unique and image of the characters in the whole mural expression. The dress and gestures painted really well and vividly. Painting not only incarnates the support figure identity noble, and allowedto the Buddha’s highest art realm. These characteristics are the total in the murals of the Wu SuTu temple significant signs of loosening. In general, rigorous on modeling change for easy, strong on color change for light, and line is concise and plain. Compared to the former, the "grassroots" flavor gives a person the sense with real and simple. Apparently painter of prairie life background,inadvertently reveal on ink and image.MeiDaizhao mural and Wu SuTu temple combine the art of Mongolian,Tibetan, Han and other ethnic characteristics, and forme a unique style of Mongolian temple mural art, and reflect the Ming and Qing dynasties withthe central plains of the Mongolian, Tibetan areas in the aspects of political,economic and cultural exchanges. This paper, taking theMeiDaizhao mural and Wu SuTu temple as the research objects, and the Tibetan Buddhist tradition mural drawing changes in the two temple mural painting as the breakthrough point, through the Tibetan Buddhism in Mongolia area caused by ethnic cultural fusion, grassland people change the way of life existence,two temples of murals content reading and contrasting and so on, further explore the Mongolian people are reflected in the form of static in this nation based on the intrinsic aesthetic idea, draw lessons from and absorb the dynamic process of Tibetan buddhist culture and art. Focuses on revealing the Mongolian Tibetan Buddhist art, mainly in the traditional Tibetan Buddhist art, on the basis of absorbing the art form, the central plains to the intrinsic aesthetic ideas into the creation of the mural, formed the unique national characteristics of artistic style.