A Study Of The Extant Frescoes In The Main Hall Of Zishou Temple,Lingshi,Shanxi Province

The murals of different periods from ancient times to the present have different artistic characteristics.With the progress and development of human civilization,murals not only have aesthetic function,but also full of blessing meaning.People will pray for peace through the worship of Buddha and star God.This thesis focuses on the two-tiled murals in the east and west walls of the Main Hall of the Shishou Temple.With the help of online and offline literature platform,a large number of documents related to Zishou temple were retrieved in detail,and on-the-spot investigation of the temple,through communication with the monks in the temple to study this paper is divided into six parts.The first part of the purpose and significance of the topic,domestic and foreign research status and research content and methods of a comprehensive in-depth analysis.The second part of the temple through the geographical location of the temple,the palace distribution and the theme of the palace murals on the status of the temple systematically combed.In the third part,through the detailed and systematic carding of the inscription in the temple,the reconstruction and repair of Zishou Temple in the past dynasties are studied.In the fourth part,the author puts forward his objection to the painting time of the Main Hall murals of the Zishou Temple,and makes textual research based on the historical records,the painting style of the murals and the comparison with the other murals in the temple,determines the age of its rendering.The fifth part examines the status of deities in the murals “Medicine master Buddha society” and “Blazing Light Buddha Society” in the Middle East and west of Shishou Temple,based on the Main Hall layout of the murals and the arrangement,location,relationship and subtle differences between the deities.The sixth part examines the painting patterns of the Medicine Master Buddhist Association and the Blazing Light Buddhist association in the Yuan,Ming and Qing dynasties,and concludes that such themes and paintings have formed a fixed painting pattern.