Research On Mural Art Of Mangzhong Buddhist Temple In Menglian

Mangzhong Buddhist Temple is the only fully preserved Buddhist temple in the Qing Dynasty in Menglian area.Its inner wall murals are decorated with golden water leaks,and the outer murals are "Thousand-Petaled Lotus",a folk tale from Dai and the county annals of Menglian.It not only shoulders the social responsibility of spreading the Theravada Buddhism and the traditional culture of the Dai people in the Southern Tract,and also visual memory of the historical incident of the British army harassing Menglian.Because Menglian is located on the border of Yunnan and Burma,far away from the Central Plains culture,the Buddhist Temple in Mangzhong is more influenced by the Burmese Buddhist culture,and the murals present a unique artistic style,such as witty and interesting pattern characteristics,simple and elegant flat coloring,and tough and smooth line sketch by bamboo brush.The juxtaposition of pen and line drawing and various compositional methods is due to the painter’s Buddhist temple education experience,the social status of the early Republic of China,and the romantic aesthetic taste of the Dai people.Compared with the palace frescoes of the Shangcheng Buddhist Temple and the Mount Hong Buddhist Temple,which have excellent skills and exquisite shapes,their murals are of great randomness and humorous interest in folk art.Therefore,although there are only three murals of Buddhist temples in Mangzhong,their artistic features are very unique among the murals of Buddhist temples of the Dai ethnic group in Yunnan,and they have important reference value for studying the regionality,diversity and secularity of murals in Buddhist temples in Yunnan.At the same time,the research on the murals of the Buddhist temples in Mangzhong shows the society,religion,customs and history of the Menglian area,which enriches the artistic research results of the murals on the Buddhist temples of the Dai people in Yunnan in the early Republic of China.,and providing a more reliable theoretical basis for the study on Communication and integration of the South-transmitted Theravada Buddhist art in the Yunnan-Myanmar cross-border area.