Research On The Schematic Structures Of Temple Murals In Shanxi From The Perspective Of Mathematical Sciences

The heritages of ancient temple murals in Shanxi have rich connotation not only in the aspects of humanities and arts,but also from the perspective of mathematical sciences.As an embodiment of combining art and science,it is of great research and promotion value.This paper studies the schematic structures of temple murals in Shanxi from the perspective of mathematical sciences,and further explores the connection between the artistic creation and mathematical sciences,to provide rational references for traditional temple murals researches and contemporary art creations.The schematic structures of temple murals in Shanxi reflect a process of change from rational norms of the Song Dynasty to transitional forms of the Jin and Yuan Dynasties,and finally to stylization of the Ming and Qing Dynasties,accompanied by a regional characteristic of gradually separation between clustered figures pattern and vivid scenery,at the same time,they are limited by paradigm making and religious rituals.In the context,the following characteristics are shown: firstly,analyzing the space expression of Shanxi ancient temple murals through geometric and comparative methods,it’s found that the oblique angle relationship in geometry is used to organize spatial elements’ position and three-dimensional structures,and prefer using one constant oblique angle or two mutual complementary oblique angles to form parallel or symmetric patterns.Moreover,by continuous translation in the direction of oblique angle,the depth of space and the move-feeling of figures have been properly shaped,and the latter is strengthened due to the increased stylization,but on the other hand,the reproducibility of simulating real scene is weakened.Secondly,analyzing by statistical and quantitative charts,the special composition rules of Shanxi temple murals were found.Such as the statistical law of figures pattern in Shuilu wall paintings of Yunlin temple,which reflects the quantitative nature of its order.Besides,the quantitative relation of the serial wall paintings in Chunyang Hall of Yongle Palace corresponds to the arithmetic of Yin-Yang theory,revealing the traditional philosophy in the composition of this mural.Finally,based on the scientific theories of visual perception and projection,with the addition of mural evidences,the influence of different mathematical science backgrounds on artistic creation was found: the space expressing methods in ancient temple murals derived from Chinese traditional paintings are concise and powerful projection structures,which are produced in the naive cognitive stage of mathematical sciences.On the other hand,quantifiable order and philosophical nature of murals indicate that,due to the emphasis on digit and calculate in ancient Chinese mathematical sciences,quantifiable laws have gradually become a rational intuitive thinking that affects the composition of painting in a deeper form.