Analysis Of The Image Of Shibao Tara In The Second Cave Of East Thousand Buddha Caves

The mural art is created by means of symbolic,conceptual and formal images.It has not only become the physical carrier of religious propaganda and teachings,but also an artistic treasure with great artistic value.Twenty-three existing caves in the Eastern Thousand Buddha Caves,and the well-preserved,largest and most representative ones are the mural of the Eastern Thousand Buddha Caves in the Western Xia.It was not only a religious example of the existence of both Exoteric Buddhism and Esoteric Buddhism at that time,but also recorded the spiritual world of the Western Xia people and the actual situation of cultural exchanges among the various ethnic groups through images.The two groups of "Cinta-mani Tara(Sgrol ma yid bzhin nor bu)" in the two caves of Eastern Thousand Buddha Caves not only combine the religious doctrine with the real world,but also draw on the religious culture based on the cultures of the Central Plains,Baltic and Tibet.A series of depictions and performances,with Western Xia characteristics,profoundly reflect the multi-ethnic integration of this period and the people's faith and sincerity towards Cinta-mani Tara.This thesis takes the image of Cinta-mani Tara in the second cave of Eastern Thousand Buddha Caves as the research object,and carries out in-depth combing and discussion in the following four chapters:The first chapter gives a brief overview of the overall structure of Cave 2 of Eastern Thousand Buddha Caves and the people in Cinta-mani Tara during the Western Xia period.The second chapter discusses the artistic language and its imagery form of Cinta-mani Tara from the perspectives of composition,lines,modeling and color arrangement.The third chapter deeply analyzes and summarizes the exchange and integration of the national culture between Western Xia and surrounding areas from the perspectives of the Baltic styles of India,Nepal,Tubo and other places in the southwest,the style of the Kuchai in the northwest,and the Central Plains style.The influence of the Cave 2 of Eastern Thousand Buddha Caves,especially the image of Cinta-mani Tara.The fourth chapter discusses the Cinta-mani Tara from the aspects of style,image and carrier.The uniqueness of the Western Xia Grotto statues refines and summarizes its representative image style and artistic value.As a product of the mutual integration of ethnic groups,the Western Xia murals have a typical representation of the two groups of Cinta-mani Tara image in the two caves of the East Thousand Buddha Caves,and the two groups of figures are deeply combed and explored.For example,it will help us to sort out the exchange and integration of Western Xia and various national cultures from the image aspect,summarize the development law of mural art in this period,and more clearly understand the religious beliefs and ideology of the Western Xia people.