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Architecture, Sculptures and Murals in Southern Shanxi Under the Yuan Dynasty

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Architecture, Sculptures and Murals in Southern Shanxi Under the Yuan Dynasty University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 Antiquity Or Innovation? Architecture, Sculptures And Murals In Southern Shanxi Under The Yuan Dynasty Lian Qu University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Qu, Lian, "Antiquity Or Innovation? Architecture, Sculptures And Murals In Southern Shanxi Under The Yuan Dynasty" (2018). Publicly Accessible Penn Dissertations. 3478. https://repository.upenn.edu/edissertations/3478 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3478 For more information, please contact [email protected]. Antiquity Or Innovation? Architecture, Sculptures And Murals In Southern Shanxi Under The Yuan Dynasty Abstract The dissertation analyzes the different forms of art - architecture, murals and sculptures - produced in Southern Shanxi from the beginning of the fourteenth century to the early of Ming. The dissertation starts with a case study on the history of Guangshengsi, one of the most prestigious Buddhist monasteries in the region, and one of the best-preserved Yuan architectural complexes of all China. It then examines the extant Yuan architecture of Southern Shanxi, most of which were constructed in two types of structures, diantang and tingtang. It was the tingtang structure that gained increasingly popularity in the first half of the fourteenth century. Surviving Yuan buildings in Southern Shanxi belonged to religious institutions of various kinds, Buddhist and Daoist monasteries, temples and shrines of local beliefs. In many cases, these buildings were decorated with murals and contained religious images in various forms. Unfortunately, because of their high artistic achievements and with few exceptions, murals and sculptures were either lost or found their way to the collections of private collectors and museums. The goal of the conclusion is to put architecture, sculpture and murals into one schematic paradigm. The dissertation begins with a reconstruction of history, to the reconstruction of a monastery layout, and finally in the conclusion, to the reconstruction of the imagery program within a building. The imagery program of the main hall of the Guangsheng Lower Monastery is reconstructed, which answers a final question, ot what extent were the art and architecture of Southern Shanxi influenced by Tibetan Lamaism, one that defines the high art during the period of Yuan. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group East Asian Languages & Civilizations First Advisor Nancy S. Steinhardt Keywords Southern Shanxi, Yuan Architecture, Yuan Art, Zhu Haogu Subject Categories History of Art, Architecture, and Archaeology This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/3478 ANTIQUITY OR INNOVATION? ARCHITECTURE, SCULPTURES AND MURALS IN SOUTHERN SHANXI UNDER THE YUAN DYNASTY Lian Qu A DISSERTATION In East Asian Languages and Civilizations Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2019 Supervisor of Dissertation __________ _____ Nancy S. Steinhardt Professor of East Asian Languages and Civilizations Graduate Group Chairperson ______ ___________ Christopher P. Atwood, Professor of East Asian Languages and Civilizations Dissertation Committee Adam D. Smith, Assistant Professor of East Asian Languages and Civilizations Frank L. Chance, Adjunct Associate Professor of East Asian Languages and Civilizations ANTIQUITY OR INNOVATION? ARCHITECTURE, SCULPTURES AND MURALS IN SOUTHERN SHANXI UNDER THE YUAN DYNASTY COPYRIGHT 2019 Lian Qu This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 4.0 License To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-sa/4.0/us/ Dedicated to the memory of my beloved mother. 亦母亦師養育之恩重於山，至純至善為人平和靜似水。 iii ABSTRACT ANTIQUITY OR INNOVATION? ARCHITECTURE, SCULPTURES AND MURALS IN SOUTHERN SHANXI UNDER THE YUAN DYNASTY Lian Qu Nancy S. Steinhardt The dissertation analyzes the different forms of art - architecture, murals and sculptures - produced in Southern Shanxi from the beginning of the fourteenth century to the early of Ming. The dissertation starts with a case study on the history of Guangsheng Monastery, one of the most prestigious Buddhist monasteries in the region, and one of the best-preserved Yuan architectural complexes of all China. It then examines the extant Yuan architecture of Southern Shanxi, most of which were constructed in two types of structures, diantang and tingtang. It was the tingtang structure that gained increasingly popularity in the first half of the fourteenth century. Surviving Yuan buildings in Southern Shanxi belonged to religious institutions of various kinds, Buddhist and Daoist monasteries, temples and shrines of local beliefs. In many cases, these buildings were decorated with murals and contained religious images in various forms. Unfortunately, because of their high artistic achievements and with few exceptions, murals and sculptures were either lost or found their way to the collections of private collectors and museums. The goal of the conclusion is to put architecture, sculpture and murals into one schematic paradigm. The dissertation begins with a reconstruction of history, to the reconstruction of a monastery layout, and finally in the conclusion, to the reconstruction of the imagery program within a building. The imagery program of the main hall of the Guangsheng Lower Monastery is reconstructed, which answers a final question, to what extent were the art and architecture of Southern Shanxi influenced by Tibetan Lamaism, one that defines the high art during the period of Yuan. iv TABLE OF CONTENTS ABSTRACT ............................................................................................................................... IV LIST OF TABLES .................................................................................................................... VI LIST OF ILLUSTRATIONS ................................................................................................. VII INTRODUCTION ....................................................................................................................... 1 CHAPTER 1 .............................................................................................................................. 19 CHAPTER 2 .............................................................................................................................. 48 CHAPTER 3 .............................................................................................................................. 72 CHAPTER 4 ........................................................................................................................... 103 CONCLUSIONS ................................................................................................................... 122 APPENDIX A: DIGITAL MODELS ................................................................................. 132 APPENDIX B: TABLES AND MAPS ............................................................................ 135 APPENDIX C: ILLUSTRATIONS ................................................................................... 141 APPENDIX D: LIST OF INSCRIPTIONS AND STELE TEXTS ............................ 185 BIBLIOGRAPHY .................................................................................................................. 187 v LIST OF TABLES Table 1 Royal Monasteries of the Yuan Dynasty (Data collected based on Chen Gaohua. 2015: 31-65) Table 2 Construction Dates of the Buildings in the Guangsheng Upper Monastery, Lower Monastery and the Water God Temple. Table 3 New Chronology of the Works of the Zhu Haogu School vi LIST OF ILLUSTRATIONS Figure 0.1 Zhao Mengfu (1254-1322), Danba Stele (detail), dated to 1315. Handscroll, ink on paper. The Palace Museum, Beijing. Figure 0.2 Zhao Mengfu (1254-1322), Monk in a Red Robe (detail), dated to 1304. Handscroll, ink and color on paper. Liaoning Provincial Museum. Figure 0.3. White Pagoda of Miaoying Monastery, Beijing, built in 1272-1288. Figure 0.4. White Pagoda of Tayuan Monastery, Mount Wutai, 1301. Figure 0.5 Ji Family Workshop from Pingyang Prefecture, Four Beauties, Jin Dynasty, woodblock print on paper, 79.1 x 34 cm. The State Hermitage Museum, St. Petersburg. Figure 2.1 Sanqing Hall, Yongle Palace, Ruicheng County, circa. 1250s. Figure 2.2. Wang Yanda, et al. Troupe of Actors in Performance, section of a mural painting on the east side of the south wall, Mingyingwang Hall, the Water God Temple, Hongtong County. 1324. Figure 2.3 Wang Yanda, et al. Xingyu and Assembly of Mingyingwang, section of a mural painting on the east gable wall, Mingyingwang Hall, the Water God Temple, Hongtong County. 1324. Figure 2.4. Wang Yanda, et al. Scene of Guangsheng Monastery, section of a mural painting on the east gable wall, Mingyingwang Hall, the Water God Temple, Hongtong County. 1324. Figure 2.5. Bird’s eye view of the Guangsheng Upper Monastery, photo taken in 2017. Figure 2.6. Elevation of Guangsheng Monastery in the late Yuan, digital model. Figure 2.7. (Left) Plan of Guangsheng Monastery in the late Yuan (digital model); (Right) Plan of the Guangsheng Upper Monastery. (photo taken in 2017) Figure
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