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公主寺壁画是明代水陆壁画的代表作之一。其大雄宝殿壁画的构图,无论是从其寺庙建筑的布局特征、壁画内容还是壁画人物的宏观设置、细节处理等方面来说,都无不透露出公主寺既突出中心又力求对称的壁画构图特征。但对称却不死板,从对称中又能找出众多细微的变化。本文力求从多角度展现公主寺壁画的对称特点,并与同一时期的水陆壁画做粗略对比,以此展示公主寺壁画的构图方式以及独特魅力。
Princess Temple murals is one of the representative works of water and land murals in the Ming Dynasty. The composition of murals of its main hall shows the compositional characteristics of the murals of the princess temple, which are both prominent and symmetrical, both in terms of the layout of the temple buildings, the mural content and the macro settings of mural figures and the details of the murals. But symmetry is not rigid, from the symmetry can find many subtle changes. This article seeks to show the symmetrical features of the murals of the princess temple from multiple perspectives and makes a rough comparison with the murals of the murals in the same period in order to show the compositional style and unique charm of the murals of the princess temple.