Study on Futon Patterns in Mural of Buddhist Temple in Wutai Mountain under Digital Vision

Dao Xuan’s Gantonglu records:“About fifteen kilometers down from the southeast of the Wutai Mountain,there is the ancient Dafu Lingjiu Temple,and there are two Taoist temples in the east and west,where Buddhist matters are fulfilled.According to ancient legend,it was made by Emperor Ming of the Han Dynasty”(Daoxuan,Tang Dynasty,p.257).It can be seen that Buddhism has been introduced into Wutai Mountain since the Eastern Han Dynasty,and Buddhist temple murals have been painted on the walls of temples with the introduction of Buddhism,playing the role of spreading scriptures and decorating the walls.The pattern of Buddha’s futon base in the murals reflects the worship and rank differences of Buddhist monks in different periods.As a medium of meditation and worship,futuan is also a ritual instrument in Buddhist legend,which is of great significance.The research on the style of futon from the perspective of the frescoes in the temple of Wutai Mountain mainly focuses on the historical evolution of the frescoes and futon,the research and analysis of the base shape,pattern,composition and color of the futon in the frescoes of the temple.Explore the religious significance and historical and cultural value behind the futon style.

Research on Relationships between the Pigment of Dunhuang Mogao Grottoes Frescoes and Ecological Microorganism

Dunhuang Mogao Grottoes is one of the largest art treasures in the world.She has a large number of murals,sculptures,beautiful and vivid;There are precious Buddhist scriptures,documents,noble and elegant.Spanning more than 1,600 years,the Mogao Grottoes show the world the extensive and profound Chinese culture with a long history.But over time,the murals in the Mogao Grottoes have also changed a lot.Thousands of years of wind and rain erosion,changes in the surrounding environment,and the influence of various biological communities have caused serious color changes and fading of murals in Mogao Grottoes.To slow down the color change of Dunhuang frescoes,protection measures should be taken from the perspective of ecological microorganisms.At present,Cladosporium,Planococcus,Phoma,Chaetomium,and other strains have caused serious discoloration or discoloration of murals to a certain extent.This paper studies the main color of Dunhuang frescoes,red,and summarizes the discoloration factors and mechanism of red lead.On this level,one should try to keep the murals and control the indoor temperature.Humidity,people,and other factors slow the fading of the murals.But these are often insufficient to protect the integrity of the murals,so we have conducted a review of the literature to provide an updated overview of the available evidence on the subject.

A Comparative Study of Buddha Images Between the Dali Kingdom of China and the Ayutthaya Mural Paintings of Wat Khongkharam Thailand

This paper is based on the Indian Buddhism arts, especially Hinayana, and it gives a comparison between the mural paintings in Wat Khongkharam and the Buddha images in Dali Kingdom of China. This paper also aims at analysing the origin, the development, and the major premises of artists in Buddhism Arts. Furthermore, I would like to collect related materials and give a recreation as well.

The Discussion of Tibet＇s Paintings in Dunhuang During A.D. 786-907 And the Mural Painting on the North Side ofthe No.14 Cave of the Mogao Caves

During A.D. 776 to 848, Dunhuang was occupied and ruled by Tubo political power, a special painting style, spread via the Tibetan silk road, appeared at same time, and which is related to the art style of India and Nepal; It is worth noting that the Tibetan painting style during this period have no relative unified model actually, especially the mural and the silk painting preserved in Library Cave, the painting style of which had obvious difference between each other, and the reason behind this is very hard to explain. Until the late Tang Dynasty （A.D. 848-907）, sheer Pala style of eastern India appeared in Dunhuang, however, whether those East India painting style still belong to Tubo remain for further discussion. The art style of East India appeared in Dunhuang during from the late Tang Dynasty to the early period of Northern Song Dynasty, probably propagated from the ways other than Tubo, and this art style was deemed as the one has nothing to do with Tibet＇s art in this study.

Mural Paintings in A Liao Tomb

It was a custom in the Liao Dynasty to decorate tombs with murals. The paintings in Zhao Dejun’s tomb, excavated in Beijing, provide a well-known example. During the Five Dynasties period, Zhao Dejun was a warlord in Youzhou, which became the southern capital of Nanjing in the Liao Dynasty (and even later, was renamed Beijing). The Zhaos grew to become a very powerful family in the area, as can be seen from the size of Zhao’s tomb and the value of the funerary objects buried with him. His