Research On Characters’dress And Fabric Patterns Painted In Water-and-land Service Paintings In Yuan,ming And Qing Dynasty

Painting for water-and-land service is a religious painting work with characters of Buddhism, Confucianism and Taoism painted which was used in water-and-land services held in the worship activities of Buddhism and Taoism. Such Painting mainly appears in forms of scroll paintings and mural paintings, and categorized by up and down section, the water-and-land service painting is used in full suit. In this paper, on the basis of exploring the source of faith and developing history of water-and-land service, sampled as the research objects of the water-and-land scroll painting kept in Baoning Temple and Capital Museum and Paper water-and-land painting of middle reaches of Yangtze River(361 pieces in total with 2460 various bodies images) as well as water-and-land mural paintings kept in Qinglong Temple, Yongan Temple and The Princess Temple in Shanxi Province(394 m2 in total with 1590 various bodies images) which are categorized in water-and-land paintings in Yuan, Ming and Qing Dynasty, aspects of water-and-land paintings such as the content, distribution of remaining works, themes, functions, promotion of sample manuscript and the inherited characteristics from Taoism and Buddhism’s religious figure painting of Tang Dynasty will be presented; the research of characters’ dress and fabric patterns in above water-and-land paintings will be made with emphasis; furthermore, digital recovery of part fabric patterns and design exploration will be taken.Factors to influence the characters’ dressing patterns include the creeds, conflicts and integration of Buddhism, Confucianism and Taoism, subjective preference of governing classes as well as religious costume reformation; costumes in Buddhas, Bodhisattvas,Vajrahasas, Arhats and Taoist immortal gods painted in water-and-land service paintings are restricted by the religion costume standard, which are characterized in obvious religious features and firm dressing style; costumes of other characters such as all folk gods, ancient famous people and ghosts in hell take emperors’ royal costumes, formal dresses of noble ladies, civil and military officers’ official costumes and civilians’ costumes into reference and also use scarves, jade necklace, hides and other costumes in man’s world to exaggerate and imagine gods’ costumes, making their costumes deified; in aspect of epochal character, costumes in such paintings get affected evidently by what prevailed at Song, Yuan and Ming Dynasty; therefore, in general, characters’ costumes in water-and-land service painting present following diverse characteristics--religiousness, worldness, realness, exaggerativeness, routinization and so on.Water-and-land scroll painting kept in Baoning Temple and Capital Museum will be the main objects for fabric pattern research, contributing the good exploration of fabric pattern appeared in water-and-land paintings in aspects of themes, decorating position, colors, patterns combinations, painting technique, epochal and geographical features etc. Themes of fabric patterns appeared in water-and-land paintings are abundant, and the decorating positions as well as painting techniques are diverse; the colors used in painting work mainly are red, green, yellow, white and other traditional colors; patterns combinations include two sides continual pattern, four sides continual patterns, and framed pattern etc.; painting technique include color coating, gold mud line drawing, free blooming, Lek powder laced with gold; patterns are shaped by Buddhism’s and Taoism’s religious patterns, secular auspicious patterns and other factors; in epochal aspect, the patterns present features of fabric patterns in Ming and Qing Dynasty, which are developed from plain style in the turning of Yuan and Ming Dynasty to glorious style in the late phase of Ming Dynasty and Qing Dynasty; geographically, those patterns are featured as bureaucratic style in and around Beijing and folk-custom styles in local.