The development of history
Pilu Temple was built in Tianbao period of Tang Dynasty (742~755). According to the "Nine Palaces of Zhengding House", "Pilu Temple was built in the Tang Tianbao in the west of the city" refers to Zhengding House in the west. In addition, the inscriptions on the rebuilt stone platform and the rebuilt stone tablet of Pilu Temple show that the second year of Song Xuanhe (1 120), the first year of Jin Huangtong (1 140) and the twenty-sixth year of Dading (11) In the second year of Zheng Zheng's visit, the eminent monks admired the secluded scenery of "the East Wood is hidden deep, the Fan Yuan is deep, the smoke disappears at sunrise, and the birds sing and laugh", so they made renovation and creation, and formed a group of buildings along the central axis from south to north, namely, the Mountain Gate, the Temple of Galatia, the Temple of the Ancestor, the Hall of Sakyamuni, the Bell Tower, the Drum Tower, the Pilu Hall and the Monk House.
By the eighth year of Hongzhi in Ming Dynasty (1495), it had experienced wind and rain erosion and war damage for more than 50 years. Pilu Temple has long been a decadent scene with broken temples, rotten beams and columns, leaking roofs, crooked walls, broken statues, discolored paintings and overgrown weeds in the courtyard, and the host in the temple does not hinder Taoist priests, monks and people who have made great contributions. According to the "Monument to Celebrate the Success of Pilu Temple" in the 12th year of Hongzhi (the earliest existing monument of Pilu Temple was rebuilt), "In May of the 8th year of Hongzhi, there was a monk in this temple, who did not live for the teacher, and was a nobleman in the village (Shangjing Village). It's really impressive to see the large scale of the main hall. Only for beam collapse, column root corruption, compatibility disability, color peeling. Together with Youputong and others, we will raise ten parties, get rid of the old and innovate, rebuild the front and back halls, and make a Pilu Buddha, with two fragrant flower bodhisattvas next to it, together with the founder, the monk's house and the bell and drum ... ". In the 18th year of Hongzhi in the Ming Dynasty (1505), the Taoist abbot completed the reconstruction of Tianwang Temple with the donation of ten good people, including Ren Tong, Ren Cong, Wang Gang and Zhang Shen, and made statues of four heavenly kings in the temple. On the eighth day of April that year, he set an inscription "The Great Pilu Temple was successfully rebuilt". In the 12th year of Zheng De in the Ming Dynasty (15 17), "three Qian Dian (Sakyamuni Hall) were rebuilt, one statue of Sakyamuni Buddha and his disciples Ananda and Ye Jia was sculptured, with gorgeous architecture and ten murals". The existing inscription in Ji Zheng and Liang Fang's handwriting reads: "In the first year of Hongzhi, in the twelfth year of Zhengde, Ding Chou returned to Mao Xin to build and rebuild the museum, with Director Daozhu (Residence) as the director." The contents contained in this paper are consistent with the rebuilt inscriptions of Pilu Temple.
From the first year of Hongzhi in the Ming Dynasty (1488) to the fourteenth year of Jiajing in the Ming Dynasty (1535), after more than forty years, the abbot Daozhu and other monks, with the great help of Director Tong and Ren Cong, carried out a thorough and large-scale repair, reconstruction or expansion of the Pilu Temple, with the number of monks, building scale and land output. On the basis of rebuilding the temple, the East Pavilion, Zen Hall (existing base site), gallery, abbot, gallery, kitchen and so on were newly built in the temple. There are 30 acres of temples, more than 200 acres of fertile land, and 7 rebuilt monuments.
In the forty-three years of Wanli in the Ming Dynasty (16 15), Sun Fa, Niu Wanquan, Li Hualong and other good people in Shangjing Village had no obstacles. They "looked at the current situation and lamented the achievements of the previous dynasty, so they could not bear to build two main halls, two-story bells and drums, three halls of heavenly kings, and three new books houses". After five years of renovation, in the forty-eighth year of Wanli in the Ming Dynasty (1620), a monument was erected to celebrate. In the 18th year of Qing Qianlong (1735), the abbot Hu repaired it in time, and in the first year of Qing Daoguang (1826), the abbots Pujin, Puli and Puxiu repaired the Pilu Hall and the Sakyamuni Hall. During the Republic of China, the second floor of the bell and drum and the Zen Hall were destroyed. 1958, when the irrigation canal in Jin Shi was repaired, the original Tianwang Temple was demolished. After 1986, a new mountain gate was built, the second floor of the bell and drum was rebuilt, and the Sakyamuni Hall and the Pilu Hall were overhauled. 1995 set up a protection agency, which is managed by special personnel.
Cultural relics, buildings and murals
The remains of Sakyamuni (Qiandian) are from the Ming Dynasty, with a width of12.42m, a depth of12.5m and a height of 9.5m, and a building area of136.2m.. In the Ming dynasty, lattice fans were laid, and the rest of the walls were built with blue bricks. Step out of a corridor in front, followed by a mansion, with a kissing beast on the top of a single-eaves hanging tile. The beam frame consists of seven eight-purlin corridors, with melon columns supporting the top between beams, ridge purlin supported by melon columns on three beams, supplemented by small fork hands on both sides, and the central column on the secondary mountain surface directly leads to the ridge purlin. The beam frame is made of natural materials, slightly processed and not coated with logs. The wooden frame structure of the Sakyamuni Hall is different from that of the Qing Dynasty, and it has obvious architectural features of the Ming Dynasty. There was a Buddhist altar in the Ming Dynasty for one Buddha and two disciples. The statue of Sakyamuni is a golden clay sculpture in the Ming Dynasty, which is solemn and solemn. Standing on the Lotus Platform of Xumishan Mountain, the elder Ye Jia is on the left, and the handsome Ananda is on the right. Two disciples are painted sculptures in Phnom Penh 1987. Behind the Buddha statue is the tall Buddha's light and Mount Sumi, with pavilions, bridges and flowing water hanging in the north of Mount Sumi, where Lohan protects the law. The three Buddha statues in the middle are the original sculptures of the Ming Dynasty, all wearing pearls and colorful clothes, sitting among Guanyin, Zuo Manjusri and Right Pu Xian, each with its own mount, namely the one-horned roar, the six-toothed white elephant and the green lion. The statues of Sakyamuni and Bodhisattva are exquisite and natural, and they are one of the few statues of the Ming Dynasty in Hebei Province.
The murals in the Sakyamuni Hall were painted in the Ming Dynasty, covering an area of 83 square meters. The existing murals are seriously damaged and some of them are unrecognizable. Murals are distributed in the southeast, east, northeast, northwest, west and southwest walls of the temple. The main content is the story of the birth of Buddha, that is, Sakyamuni's experience of becoming a Buddha. Its characteristics: first, it is arranged in the form of comic books, coherent and independent, and draws the story of the prince becoming a monk and becoming a Buddha as a whole. Each painting has an inscription in ink to express the story content, which is interesting and vivid. Secondly, the figures, costumes, customs, buildings and stories in the murals are basically China-like, which makes western Buddhism integrated into China culture after transformation and easy to accept and spread. Third, the subject matter is extensive and unique, including historical stories, folklore and Buddhist stories. The murals in the Buddha Hall of Sakyamuni reflect the fusion of multi-cultures, and have important reference value in the history of China's art, the history of Buddhism, and the exchange and fusion of Chinese and foreign cultures.
Pilu Temple (main hall) is dedicated to the tantric Buddha Pilu, named Tathagata, so the temple is named Pilu Temple. Pilu Hall is the building of Amin Dynasty, also known as Wuhua Bagua Hall. The roof of the hall adopts the palace roof, the front building serves as the rest peak, the front and rear doors are applied, and the straight lattice windows are put on the shelves twice. The plane is cross-shaped, built on the abutment of about 1 m, with three rooms wide and two rooms in front, with a total height of 8.35 meters and a construction area of 208.4 square meters. Beam-type frame structure, with seven purlins in the middle column, five beams in the bay and two beams in the back. The front building is connected with the temple body with transverse purlins instead of beams; In the second time, melon columns and purlins were directly supported by beams and made into the form of pushing mountains instead of Taiping beams and other components; Corner beams and camels are used to support the back end of the old corner beam, and the vertical style is used as the intersection point between the front and the mountain surface at the back end. Purlins are only used under purlins, and purlins, mats and purlins are not needed; There is no bucket under the eaves, the column has side angles, the column headdress is square and the forehead is square, showing a "D" shape. These characteristics kept the manufacturing technology and craft in the early Ming Dynasty.
Pilu Temple has murals from two periods. The murals in the temple were painted before the middle of Ming Dynasty, and the murals on both sides of Qian Bao Gorge were painted in the late period. They are not works of the same period in style, content and characteristics. According to the reconstruction records of the Ming Dynasty, "If land and water are provided for the gods, there must be a Pilu Hall"; "The white wall is very spectacular, and the East China wall painted on the wall is to get rid of this scene." The existing temple murals are the murals of the land and water Dojo in the Ming Dynasty. From the analysis of crack section, we can see the structure and technology of mural painting. Brick wall surface is paved with a layer of (1~ 1.5) cm. The material of this mural is a large amount of loess, a small amount of fine sand and a proper amount of broken wheat straw. Outside the mural, the surface is white plaster with a thickness of 0. 1~0.2 cm. Murals are distributed in the front and rear walls of the temple and the gables on the east and west sides, with an area of 102.5 square meters. Murals are arranged in three layers. The main image in the lower layer is 0.8~ 1.2 meters high, and the middle and upper layers are getting smaller and smaller, with the image height of 0.5~0.8 meters. Each floor is divided into several groups, separated by auspicious clouds, and each group has calligraphy and pen lists to express the meaning of painting. 120 group, including 506 buddhas, bodhisattvas, heavenly kings, monks, immortals, Yan Wang, waiters, historical figures and ordinary people. Murals use symmetrical techniques, with reasonable layout, magnificent momentum, clear priorities, integrity and independence. The lines are smooth, rich and changeable, and the characters depicted have different expressions, which are vivid and vivid. After more than 500 years of vicissitudes, murals are still brightly colored, because the pigments used are natural mineral pigments, mainly stone yellow, cinnabar, stone green and so on. , unchanged for a long time, the color is always new. In addition, a large number of crafts and technologies are used, such as pearl crowns, utensils, clothes pleats, armor, weapons and so on. , so that the picture has a strong three-dimensional sense, so that the murals are magnificent. The murals are colorful, all-inclusive and profound: the southeast and southwest walls are dominated by Confucianism and secular stories, the east and west walls are dominated by Taoist immortals, and the northeast and northwest walls are dominated by Buddhism, forming an amphibious painting of Buddhism, Taoism, Confucianism and you.
Southeast wall painting 13 group, 73 bodies. Inscriptions at the lower level include: from ancient emperors, civil and military bureaucrats, to ancient loyal ministers and good generals, to ancient filial sons and descendants, genre paintings (without inscriptions). Middle inscription: guide the king and bodhisattva, go to the ancient monks and others, go to the ancient road and others, go to all the markets in Gujiu before the ancient Confucian sages died. Inscription on the upper level: loyal and loyal martyrs died for the country, fell to death in ancient times, ghosts and gods in eight cold hell, hatred and so on. Murals are mainly like a group of bodhisattvas who lead the way. Bodhisattvas stand on their feet, wearing beads and garlands, holding flags in their left hands and wishful thinking in their right hands. Their bodies lean slightly to the left, looking down at them, as if leading the souls of wise kings, loyal ministers, dutiful sons, dutiful sons and well-behaved people in ancient times to the western paradise.
Southwest wall painting 13 group, 53 bodies. The inscription on the lower level reads: five places in the city god, five lakes and a hundred rivers, and so on. Go to the ancient sages and daughters and hang yourself in ancient times. Middle-level inscription: go to the ancient empresses and others, go to the ancient palace to be a female official, and go to the ancient outstanding women crowd. Inscription on the upper layer: burning the face of the ghost king, enlightening the teacher, promoting Taoism by physics, fighting snake venom, being bitten by animals in hot weather. The murals on the southwest wall mainly tell the story of secular affairs, reflecting the poverty and hardship of people living under the rule of poisonous snakes and tigers. At the same time, a number of southeast murals such as revenge and revenge also warned the rulers not to force the people to rebel. When it is impossible to survive, the people have to rise up and resist. & ltBR & gt East wall painting 30 groups, 125 corpse. The lower inscriptions are: King Miao Daozhen of Qingyuan, Dragon King of the Four Seas and others, Dragon God who protects the lent and rings, Five Kingdoms and Five Emperors, Notre Dame de Tian Fei and others, Nanyue of Dongyue Zhongyue, Tian Xuan God, Tian Peng Dashuai God, Fusang Emperor and others, and the Antarctic immortal emperor. Intermediate inscriptions: Gui Mu and others, prison master and ghost king, Three Cao in the underworld, Ten Kings in the underworld, Bodhisattva, Earth Treasure King, Five Ghosts of Silkworm Officer, Huang Zan and Leopard Tail, General Jin Shen and others, women in bullfighting, dangerous walls, dustpans in corners, and Dade Bodhisattva. Inscription on the upper level: Cao Cao's four-valued emissary is on duty every day and every month. His God, his general, two kings of mountains and rivers, ten generations of Ming doctors, five messengers of the ghost king, his immortal and others, eleven Yao and others, three officials and three emperors. The content of Taoism in East Wall is mainly composed of gods, true kings, dragon kings, gods, the sun, the moon, the stars, Chen and other mountains, rivers and lakes in nature. It is rich in content, magnificent in momentum and smooth in lines.
30 groups of western wall paintings, 1 13. Inscriptions at the lower level include: the true monarch who worships Ning to protect the country, the dragon gods of Sidu and others, the generals in the wilderness and others, the dragon gods of the five lakes and others, the generals of Beiyue and Xiyue, the generals of Yaocha and others, Marshal Tian Yu, and the emperor of Wei Zi in the Arctic. Middle-level inscription: Six Cao Dian Guan, Ten Kings and others, Qinglong White Tiger Sangmen Hangke, Rogue and others, the Great Tibetan Bodhisattva, the Goddess of the Twelve and Six Ding, the well ghost Liu, and Kuilou's stomach is full of anxiety. Upper inscriptions: Three Spirits Waiting for the Masses, Main Mountain, Main Tree, Main Water, Main Flower, Fuxi Nuwa Shennong, Wu Tong Daxian, Main Wind, Main Rain, Main Thunder, Big Dipper, Twelve Commanders, Lady Anji, Shunzhi Dragon King, Samsung and others, and the general trend is bodhisattva. The content of western murals corresponds to that of eastern murals, mainly Taoism. Make full use of the symmetrical layout of aesthetics, each group corresponds, the primary and secondary are clear and orderly.
Northeast wall painting 19 group, 70 bodies. Inscriptions at the lower level are: Jade Emperor, King Kong and others, national famous kings, Brahma and others, Bodhisattva Bodhisattva of Ming Chengzu, and Guanyin Bodhisattva of Ming Chengzu. Intermediate inscription: six stars in Nandou, twelve people such as Chen Yuan, sixteen monks and eight dragons (inscription missing one group). Inscription on the upper level: Chen and others in the zodiac, Ten Bodhisattvas, Four Zen Heaven and Man in the color world, God and others, Harraca Ranasa Bodhisattva, and Amitabha in the Ganlu Army, but they can't beat the Ming King's Tibetan Bodhisattva. The murals on the northeast wall are mainly Buddha, Bodhisattva, Heavenly King and Monk, with a few Taoist gods. Vivid pictures, distinctive features, outstanding personality and different expressions; The Ming king with three heads and six arms, the noble and elegant bodhisattva, the ferocious king and the elegant jade emperor show the infinity of the Buddhist world and the powerful power to overcome all monsters.
Northwest wall painting 17 group, 54 bodies. The next level of inscriptions are: King Kong Mi, Maha Zhitian Bodhisattva, Guangmu Tianwang, Indra Bodhisattva, Manjusri Bodhisattva, King Kong Shou Bodhisattva and the third generation Ming King. Intermediate inscriptions: Vishamenton, Sixteen Monks and Others, Twelve Bodhisattvas in Jue Yuan, and Sakyamuni Buddha, King of Daming. Inscription on the upper layer: Bodhi Tree River, Li, dragon day, Zun Tiansen killed the emperor, God and many others, laughing at the fact that the Ming king hid a bodhisattva in vain, and Wade, the great wheel Ming king, was a bodhisattva. The content of Buddhism is arranged on the east and northwest walls, occupying the main position of the temple, proclaiming the boundless Buddhism and the great wish of the universe and life.
Pilu Temple is a thousand-year-old temple. With its unique local ancient buildings, precious stone carvings and exquisite murals rarely seen in the world, it is a valuable material for studying political life, social conditions, religious activities, aesthetic thoughts and painting art in the Yuan and Ming Dynasties, and a valuable asset of China traditional culture.
(Author's work unit: Pilu Temple Management Office, Shijiazhuang City, Hebei Province)
Response (20) only depends on the landlord.
Medullary impression
20 10-06-07 00:44:38
Land and water paintings of Pilu Temple in Shijiazhuang and their artistic characteristics
Su Jincheng
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The water and land paintings of Pilu Temple in Shijiazhuang are rich in content and exquisite in techniques, which have high historical and artistic value and are of great significance to the study of ancient religious development, social life and painting art. This paper analyzes and studies its cultural background and artistic characteristics.
Keywords: Shijiazhuang; Pilu Temple; Land and water painting; Artistic feature
China Library Classification Number: J2 19 Document Identification Number: A Document Number:1003-9104 (2006) 07-0189-02.
Water-land painting is a kind of religious painting in ancient China, which was hung and used by Buddhism and Taoism when they held water-land dharma meetings. Due to the different production techniques and materials, water and land paintings are mainly divided into murals and scroll paintings. The painting method of land and water painting is inherited from Dunhuang frescoes, and mainly adopts the traditional meticulous figure painting method in China. The modeling, marking and coloring of figures have high artistic skills, which is a valuable legacy of meticulous figure painting in China. The content of land and water paintings generally depicts the stories of Confucianism, Buddhism and Taoism, including heaven, earth and hell. All the deities of Confucianism, Buddhism and Taoism, such as the Buddha and Bodhisattva in Buddhism, the respected king of the Ming Dynasty and the protector Wei Tuo, etc. The sun, moon and stars, three officials and emperors, wind, rain, thunder and lightning in Taoism. There are also portraits of Confucian emperors, concubines, generals and soldiers, chaste women and martyrs. Therefore, land and water painting has certain practical significance. Land and water paintings are both religious paintings and folk cultural relics. A complete land and water painting is a social hologram composed of heaven, earth and people. The images and characters preserved in land and water paintings are of great value to the study of Buddhist history, the integration of Confucianism, Buddhism and Taoism, the study of folk beliefs, the study of ancient Chinese costumes and the study of China art history, especially providing direct reference for the reading and interpretation of fasting, praying for blessings and copying scriptures, and becoming valuable materials for the study of art, history and religion in the art, cultural relics and religious circles.
Pilu Temple in Shijiazhuang is an ancient temple of China Buddhism and Lin Ji, located in Shangjing Village, Dubei Township, northwest suburb of Shijiazhuang City, Hebei Province. It was built in the 8th century AD during the Tianbao period of the Tang Dynasty, with a history of 1200 years. There have been many damages and repairs in the past dynasties. The water and land paintings of Pilu Temple are important water and land paintings in the form of murals in China. They are the most famous religious murals in China, which are as famous as those in Dunhuang in Gansu, fahai temple in Beijing and Yongle Palace in Shaanxi. The other three paintings only depict the content of a certain Sect, and only the painting of Pilu Temple is a combination of Confucianism, Buddhism, Taoism and three religions, with the same figure, which is spectacular and magnificent. There are more than 200 square meters of land and water paintings in the front and back halls of Pilu Temple, which are rich in content and numerous in figures, nearly twice as much as the famous mural Yuan Chaotu in Sanqing Hall of Yongle Palace. Its composition, line drawing, color setting, characterization and other aspects have reached a high level, with high artistic value, which is of great value to the study of social life, customs and ancient art in the Yuan and Ming Dynasties. Wang Chaowen, a critic of modern literature,
The four walls of the front hall of Pilu Temple, the Sakyamuni Hall, are painted with land and water paintings of about 83 square meters, including the China folklore "civet cats for princes", as well as Buddhist stories in China and Taoist gods. There are portraits of "Eight Immortals Crossing the Sea" painted on the east and west walls of the temple, and the characters are lifelike. It can be seen that its characters, customs and contents are quite different from the common Indian Buddhist stories. It is painted on the wall in the form of a cartoon, full of plot and interest. At the same time, these Buddhist stories are drawn together with China folk customs, which fully embodies the exchange and integration of foreign culture and China local folk culture. The drawing level of the front hall of Pilu Temple is not as good as that of the back hall, and the preservation is not complete enough. The Pilu Temple in the back hall is the main hall in the temple, and the Buddhist Buddha Pilu Zena (which means light in Indian, so the temple is named Pilu Temple) is enshrined on the central Buddha platform. On both sides of the Pilu Buddha statue are stone buddhas carved with fragrant flowers. The front of the fan wall is painted with two King Kong, and the back is painted with six Guanyin statues. The water and land paintings on the four walls of Pilu Temple *** 122 square meters, with 508 figures. The lower statues are about one meter high, and the upper and middle statues are successively lower, mostly larger, and each one has an inscription.
Although the water and land paintings of Pilu Temple were painted by folk painters in Ming Dynasty, the techniques were all taken from Tang and Song Dynasties, which was the same as Dunhuang murals. Many famous painters in history participated in mural creation, such as Gu Kaizhi, Yan and Wu Daozi. During the Song and Yuan Dynasties, China mainly engaged in and inherited China's meticulous figure paintings from folk painters, who painted murals and water and land paintings for monasteries. Most of them are devout religious believers, and they are meticulous in technology. At the same time, they integrate their own feelings about the objects depicted. They drew lessons from the traditional brushwork of China figure painting with lines as the bone by Gu Kaizhi, Yan, Wu Daozi and other senior masters, and combined with their rich imagination, created these exquisite water and land paintings. The land and water paintings of Pilu Temple have three main characteristics:
One is the integration of Confucianism, Buddhism and Taoism: the characters on the screen have different shapes and blend into one, forming a general rhythm and rhythm. But they are a group of 30 to 50 people, independent of each other, forming a self-reliant, diverse and self-sufficient pattern. Each character has moral and legendary stories, forming the mural art of the integration of the three religions. The water and land paintings were basically finalized in the Ming and Qing Dynasties, and there were more than 20 paintings of one class/kloc-0. The water and land paintings of Pilu Temple just met the number of basic stereotypes. The north wall of Pilu Hall is 2.8 meters high and 3.95 meters wide. The content is mainly Buddhism, and the paintings are gods centered on Brahma and Emperor Shi. There are more than 20 Taoist and Buddhist figures 120, such as the top ten Ming kings, the earth division, Brahma, Tianlong Babu, Four Heavenly Kings and Jade Emperor. There are more than 40 paintings on the west wall, including the Emperor of the Arctic, the Four Crossing Lakes, the God of Thunder and Lightning, the God of Mountains and Rivers, the God of Flowers and Trees, the God of Dragons, etc., and the true monarch who worships Ning and protects the country, the figure 140. The east and west walls are 2.8 meters high and 7.6 meters wide, and the murals are mainly Taoism. The east wall is painted with figures above * * * 138, such as Longevity Emperor of Antarctica, Fusang Emperor, Tianxuan Emperor, Bodhisattva, Dongyue, Zhongyue, Nanyue, Five Gods of the Four Seas Dragon King, Ten Kings of the Earth Treasure, Gui Mu, etc. The southeast and southwest walls are Buddhist figures, while the northeast and northwest walls are Confucian figures. Each set of numbers has a legend. The height and width of the south wall are the same as those of the east and west walls, mainly depicting secular figures. On the east side, there are more than 80 maps showing the way of the late King and Bodhisattva, the map of martyrs who died for the country, and the map of 9600 fairs. On the west side, there are more than 60 portraits of the ghost king, the land of the city god, the empresses of ancient emperors and wives and daughters of ancient sages. The murals in the temple are the confluence of Buddhism, Buddhism and Taoism, which is rare elsewhere, and fully embodies the profound historical and cultural heritage and broad tolerance of the Chinese nation for thousands of years. Although these paintings are religious, they can still see the shadow of real life, and many places directly depict the image of working people.
Secondly, it is beautiful in shape and rich in line drawing: the painting style of Pilu Temple's land and water paintings inherits the traditional painting method of China's ancient meticulous figure painting, with natural lines, colorful characters, vivid images and clear priorities. Different from the orderly arrangement of "Yuan Chao Tu" in Yongle Palace, the water and land paintings of Pilu Temple divide the whole wall into more than 100 small-scale combinations, and use symmetrical techniques to orderly arrange more than 500 groups of murals and more than 500 emperors and immortals. Each group is separated by spiral clouds of purple, stone green and light ochre. Patterned clouds can not only adjust the picture, but also help to set off the theme. This overall layout makes people feel rich in content, outstanding in image and vivid in plot. Each group can be a wonderful figure painting set independently, but the top, bottom, left and right are interrelated, cautious and ingenious.
The use of lines is a major feature of China's paintings. Water and land painting belongs to traditional meticulous figure painting, and tick marks are very important. The skill of line drawing in the land and water paintings of Pilu Temple is profound, which successfully depicts the movements, expressions and psychological states of different characters in different scenes, and the images are real and vivid, which has made new development on the basis of inheriting the excellent tradition of line drawing in Tang and Song Dynasties. Starting from the actual needs of the object, the painter skillfully uses the changes of line rhythm, reality and rigidity to portray the characters vividly. It gives people a sense of soul and life, and the content and texture of objects are also very good. The characters' clothing lines are elegant and smart, the lines are smooth and rigid, the charm is vivid, elegant and natural, and the expression technique is extremely mature, reaching the artistic realm of both form and spirit.
Third, the color of the picture is rich and harmonious: the colors used in the land and water paintings are very elegant, mostly mineral pigments and metal pigments, including azurite, stone green, mica, ochre, gold foil and silver foil. All materials are chemically stable. These pigments have good stability and long storage time, and will not fade even after thousands of years, and can keep the bright colors of the picture for a long time. Therefore, although the water and land paintings of Pilu Temple have gone through hundreds of years, the water and land paintings adopt the traditional heavy color filling method, with stone green and vermilion as the keynote, and achieve harmony from strong contrast. The colors are rich and gorgeous, the lines are chic and smooth, and the characters are vivid. Land and water paintings also use a lot of techniques to make the characters have a strong three-dimensional sense, and the whole mural looks gorgeous and impressive. Each group of characters in the picture is separated by three-color spiral auspicious clouds, and the patterned clouds not only adjust the picture, but also help to set off the theme.
These painting characteristics of the land and water paintings of Pilu Temple not only reflect the superb painting art level in Ming Dynasty, but also have high historical and artistic value. At the same time, it reflects from one side that the so-called folk paintings of the Ming Dynasty were all painted by artisans, which is the witness that the ancient working people in China created history, culture and art in obscurity in real life.
The land and water paintings of Pilu Temple provide important materials for studying the art history of China. The introduction of Buddhism into China brought new themes and styles to China's fine arts, especially promoted the development of China's figure painting. In China, the content of figure painting in past dynasties was mainly Taoism, supplemented by story painting and genre painting. However, after the Tang Dynasty, literati paintings with freehand brushwork appeared. Most people who inherit China's meticulous figure painting are folk painters who draw religious paintings, and the powder of folk painters is passed down from generation to generation. We can study the techniques of ancient meticulous figure painting in China from the land and water paintings, and get the rough prototype of figure painting created by ancient masters. In the land and water paintings of Pilu Temple, we can not only see the techniques of figure painting and landscape painting, but also see many folk customs. On the premise of serving religion, mural painters painted the social customs at that time into their paintings, which provided vivid historical materials for the study of modern people. More than 500 buddhas, gods and immortals in the land and water paintings of Pilu Temple are enshrined by ordinary people in China, from which we can study the folk customs and belief psychology of China people. In addition to the portraits of Buddha, gods and immortals, ancient painters also inherited the samples of previous painters. The secular costumes of emperors and subjects were described according to the costume system of the society at that time, which provided concrete image data for the study of ancient Chinese costumes.
It can be seen that the land and water painting is an art that serves the religious content, and has dual functions of religion and art. The land and water painting of Pilu Temple is a precious heritage of China's religious mural art, a treasure house of traditional culture and the essence of national painting art. The content of the integration of the three religions in the land and water painting of Pilu Temple reflects the religious development at that time, and its artistic characteristics reflect that the religious painting of Ming Dynasty is a very important field compared with the literati painting at that time. Compared with previous religious paintings, it has a wider theme and more expressive shapes and colors.