A Preliminary Study On Buddhist Statues Made Of Gold And Copper In Ming And Qing Dynasties Collected By Xuanzhong Temple

There are a large number of Buddhist statues made of Gold and Copper in Ming and Qing Dynasties.At present,the research on them is mostly a simple description or the style of statues,but less in-depth research.In order to further study the Gold and Copper Buddhist statues of Ming and Qing Dynasties,this paper takes 159 Gold and Copper Buddhist statues of Ming and Qing Dynasties collected in Xuanzhong Temple of Jiaocheng,Shanxi Province as the research object,dating them by comparing them with the standard,observing their size characteristics by combining with the size scatter diagram,and comparing their costumes with the early Buddhist statues,secular figures and water and land painting statues,so as to explore their costumes characteristics and deepen the understanding of the clothing of Buddhist statues in Ming and Qing Dynasties.The hair bun,fingerprints and costumes of Buddhist statues are important marks to distinguish the themes of Buddhist statues,so they are regarded as the basis to divide the themes of Buddhist statues.Accordingly,the Gold and Copper Buddhist statues of Ming Dynasty in Xuanzhong Temple statues can be divided into Sakyamuni Buddha,Mibai Buddha,Amitabha Buddha,viluzana Buddha,pharmacist Buddha,Avalokite(?)vara,Manjusri,Samantabhadra and arhat.The Gold and Copper statues of Qing Dynasty are divided into Sakyamuni Buddha,pharmacist Buddha and Amitābha Buddha.The chronological Buddhist statue standard is an important basis for dating Buddhist statues,according to the comparison between the Gold and Bronze statues of Xuanzhong temple in Ming and Qing Dynasties and the standard instrument,Xuanzhong temple’s Gold and Copper Buddha statues of Ming and Qing dynasties can be roughly divided into three periods:Yongle-Xuande,Zhengtong-Chenghua,Hongzhi-Chongzhen;All the Gold and Copper Buddha statues of Qing Dynasty were made in Qianlong period.The high proportion of Gold and Copper Buddhist statues can reflect the level of casting technology to a certain extent.From the high weight scatter diagram,it can be seen that the master of the high weight proportion of the Gold and Copper Buddhist statues in Xuanzhong temple in Ming Dynasty is not very accurate,the level is low,and the characteristics of the statues are close to the folk statues,which should be the folk statues;the master of the high weight of the statues in Qing Dynasty is more accurate,which seems to be mass production,the manufacturing level is high,and the characteristics of the statues are close to the palace statues,which should be the palace statues.Buddhist statue clothing reflects the strong aesthetic characteristics of the times: among the five clothing types of Xuanzhong Gold and Copper Buddhist statues in Ming and Qing Dynasties,the "bare right style" has the characteristics of Han and Tibetan costumes,while the "half draped style" reflects the strong aesthetic characteristics of Han,and the "middle clothes with elbow style" "silk wrapped shoulder style" and "half draped style",It is similar to or almost the same as that of the secular figures,indicating that their costumes are secularized,and the shoulder of silk becomes wider,indicating that they pay attention to practicality.However,Buddhist statues are still different from the secular figures in terms of cassock,crown and wreaths.It can be seen that the costumes of Buddhist statues in Ming and Qing Dynasties reflected both Tibetan and Han aesthetics,and developed towards secularization and practicality on the basis of retaining the Buddhist clothing style;Compared with the water and land paintings,the Gold and Copper Buddhist statues are more secularized than the water and land paintings.