The north wall is 2.5 meters high, and the East and West murals are 3.7 meters high.
Fenyang virgin temple, also known as Houtu temple, is located in Tiancun, northwest of Fenyang City, Shanxi Province.
In the wall painting of the virgin temple, painters exaggerate and deform ordinary characters through rich imagination, so as to express the personality characteristics of the gods.
The murals are painted on the east wall, west wall, north wall and the corridor outside the hall.
Temples have been everywhere in the northern and Southern Dynasties.
The founding age is unknown, the 28th year of Jiajing in the Ming Dynasty ( 1549) reconstruction, which was rebuilt in the seventh year of Daoguang in the Qing Dynasty (1827); The original main buildings include the main hall, bell tower, Drum Tower, music tower, etc.
The representative work of Taoist murals in the Ming Dynasty, the mural of the virgin temple, is a three-dimensional art integrating architecture and carved murals.
Buddhism was introduced into China in the Han Dynasty, and Buddhist art has also developed rapidly.
Some typical works of the Tang Dynasty have become the ancestors of future generations and have been playing an important role for thousands of years.
Under such a premise, temple murals have achieved unprecedented development, with a variety of magnificent compositions and styles, shaping a rich and touching image and realm.
It has a total area of 76.37 square meters.
As a whole, the mural adopts the fine brush and heavy color painting method commonly used in Chinese religious murals, and the character lines are flexible, concise and meticulous.
We can see the painters’ pursuit of “vivid” from the murals of the virgin temple.
In the picture of welcome, the image of the virgin is dignified and luxurious, and the costumes are complex.
Local Taoism has gradually established its own image system.
Whether it is the protagonist, the virgin, the lady and the musician, the modeling proportion is very accurate and has charm.
The whole mural presents a harmonious scene, which shows their superb painting skills and unique design.
The characters in the mural are rough and powerful, and their faces are dignified and ferocious, making people feel that the power of justice is about to erupt.
The murals in the Notre Dame hall are an important heritage of artistic reference and historical research.
It is a good mural in the Ming Dynasty.
The content is Taoist theme.
God generals, guards, children, or look dignified, or leopard eyes open, or quiet and harmonious.
The rich and colorful cultures of all ethnic groups in remote areas and the further exchange of foreign cultures have bred more brilliant artistic achievements.
Temples and Grottoes have successively extended to the mainland along the silk road.
They may look at each other, smile and talk in whispers; Or holding tribute, soft and quiet, straightening the head and looking high; Or kind.
Source: Li Rui’s essay on the artistic value of the murals of the goddess temple in Fenyang, Shanxi Province The copyright belongs to the original author If there is something wrong Please contact to delete..
Painters not only pay attention to the depiction of individual images, but also pay more attention to the combination and interspersed relationship between characters.
The mural draws many outstanding characters, with the diversity of dynamic modeling, the accuracy of external modeling and the profundity of spiritual expression.
As a realistic reflection of Taoist consciousness, the murals in the virgin temple not only express the individual feelings of painters, but also reflect people’s cognitive concepts and aesthetic value orientation under the specific background of the times.
It reveals the taste and style of aristocratic life and shows the fresh vitality of individual characters from the inside to the outside.
According to incomplete research, the Notre Dame Temple began in the Tang Dynasty and was rebuilt in the 28th year of Jiajing of the Ming Dynasty (1549).
This reflects the aesthetic pursuit of Chinese painting – vivid.
The content and expression of murals are closely related to real life.
The contents are welcome picture, lucky tour picture, swallow music picture and treasure appreciation picture respectively.
The whole mural, whether in character modeling, picture composition or the use of color, reflects a high artistic value.
Although the figure modeling of the murals in the virgin Temple lacks the support of strong and reasonable anatomical structure, this symbolic decorative meaning also does not lose its charm.
Western painting focuses on the anatomical structure of characters, while Chinese painting pays more attention to the decoration of the whole picture.
The overall character modeling is slightly plump, soft and beautiful, exudes spiritual temperament from inside to outside, and conveys the inner activities and spiritual realm of the characters.
Under the unified situation of Sui and Tang Dynasties, the northern and southern cultures were further integrated.
Although the frescoes of Notre Dame temple are religious frescoes, the craftsmen vulgarize these gods, and the characters also have the unique image of ladies painting in the Ming Dynasty, which has become a true portrayal of the life of the court aristocrats.
Fenyang virgin temple murals have magnificent scenes and numerous characters, which reflect the daily life of the virgin’s harem.
It is named because it mainly worships Houtu virgin.
It is located in Tiancun village in the northwest of Fenyang City, Shanxi Province, also known as Houtu temple.
Shanxi temple murals interpret the artistic creation with religion as the background in a specific period, which has a far-reaching impact on the artistic development of later generations.
The following figures, such as ladies, servants, gods and generals, are lifelike, which fully reflects the techniques of Chinese painting art.