“Colorful? Sculptures from the Ming and Qing Dynasties
Painted Sculptures from Temples
Although sculptures made during the Ming and Qing dynasties follow traditions from previous dynasties, most are less majestic and powerful than those of the Han and Tang dynasties. Growth began to slow. Sculptural arts are usually connected with the spiritual state of people and social influences. Changes mainly lie in the decline of religious thoughts and the rise of traditional aesthetic consciousness. As the urban economy grew, grotto carvings were replaced by temple arts. As a result, there are almost no grotto carvings from this period.
Though there are many masterpieces among the temple sculptures, most are stylized and lack vitality. Traditional images of deities such as Guan Yu, local god of the land and town, became popular. Religious sculptures are mediocre and less creative due to lack of religious belief. Architectures related to Buddhism, Taoism and Confucianism continued to grow quickly. Worship of various and complicated idols emerged. Generally speaking, Ming and Qing-style religious sculptures tended to be stylized while folk sculptures are more ornamental.
Buddhism and Taoism also became popular during the period, supported by the ruling class. Social ideology experienced further changes, while religious beliefs changed and became more indifferent. The golden time of Buddhism had past. The Qing Dynasty even issued rules to standardize Buddhist sculptures. Under these rules, sculptures gradually became stylized and rigid. The sculptural arts declined dramatically.
Despite changes in the nature of religion, the number of temple sculptures continued to grow. Ming-style sculptures are mostly the painted sculptures based on the clay bodies, while Qing-style sculptures widely adopted bronze and wood bodies. Sculptures made during this period followed the Tang and Song-style in shape and style and also reflected the distinctive features of the time.
Sculptures from this period are more real, exquisite and ornamental. They are closely associated with the growth of technological skills. Although the works are inferior to those of the Tang and Song dynasties in shape and quality, obvious improvements can be seen in technique and sculptural skill. World-shaking works became rare but some examples are still in evidence today. Most significant Ming-style clay sculptures are kept in the Shuanglin Temple in Pingyao, Shanxi Province. Qingstyle painted sculptures are mostly kept in Qiongzhu Temple in Kunming, Yunnan Province.
Ming-style painted sculptures at Shuanglin Temple
Shuanglin Temple was built during the Northern Wei Dynasty. Formerly called Zhongdu Temple, its name was changed after the Song Dynasty, according to Buddhist scriptures. It was well known even during the Song Dynasty because of the old, well-preserved stone tablet inscriptions in this temple. The existing buildings were mainly rebuilt during the Ming and Qing dynasties. A large number of painted sculptures are well preserved—1,566 out of 2,052 pieces in the temple. They are mainly full relief, high relief and low relief pieces as well as unique suspending sculptures and sculptures hanging on walls. They are the masterpieces of the master-hands and a valuable cultural heritage. Therefore, Shuanglin Temple in Pingyao is also called a Treasure House of Oriental Painted Sculptures and a Museum of Painted Sculpture.
Statues of Four Heavenly Guardians
Generally speaking, statues made in accordance with rules are usually mediocre. The painted sculptures in Pingyao Temple are creative and vivid without prejudice to the rules. They possess distinctive Buddhist characteristics and never display the characteristics of only one figure. For example, the statues of the Four Heavenly Guardians in Shuanglin Temple stand in a line side by side. They are unique not only in their size and arrangement but also style and shape. They fully reflect the unique talent and creativity of the creators. Many statues of the same kind made during the Ming Dynasty only pay attention to weird images rather than personality and temperament. The statues in Shuanglin Temple borrow ideas from the images of warriors, which give them gigantic force, heroic appearance and strong vitality.
Statues of 18 Arhats
Besides the statues of Four Heavenly Guardians, there are many breathtaking painted sculptures, such as the statues of arhats, guanyin and other idols.
The Hall of Four Heavenly Guardians is the first courtyard, including the main hall (Hall of Sakyamuni) and auxiliary halls (Hall of Arhats, Hall of Guangong, Hall of Yamaraja and Hall of God of Land). But it is the Hall of Arhats is the essence of the temple. The statues of 18 Arhats are the masterpieces. The lifesize statues are in proper proportion and structure. They are honored as “holy works.” According to Chinese Buddhism, the arhats have the nature of Buddha and are similar to Buddhists on earth. Therefore, the statues of arhats can easily break the restrains of religion and possess the personality of man. The statues in the Hall of Arhats have steady personalities and vivid shapes. They are soft on the outside and hard inside.
