Understanding of the importance of academic papers
1. An academic paper is a scientific record of new scientific research achievements or innovative ideas and knowledge of an academic subject in an experimental, theoretical or predictive way, or a scientific summary of the actual progress made by applying known principles, so as to provide a written document for reading, communication, discussion or publication in academic journals, or for other purposes.
2. The writing of academic papers is very important, and it is an important symbol to measure a person's academic level and scientific research ability. In the writing of academic papers, topic selection and material selection are the most important issues. The value of an academic paper lies not only in the writing skills, but also in the research work itself. It lies in what theme the author chooses and what typical materials he chooses to express the research results under this specific theme. Scientific research practice has proved that only by choosing meaningful topics can we receive better research results and write more valuable academic papers. Therefore, the topic selection and selection of academic papers is a significant step before the research work, and it is an essential preparatory work.
3. Academic papers are academic articles that use systematic and specialized knowledge to discuss or study some problems or research results. It is academic, scientific, creative and rational.
4, its classification is as follows:
(1) Academic papers can be divided into natural science papers and social science papers according to the subjects studied. Each category can be divided into its own category. For example, social science papers can be subdivided into literature, history, philosophy, education, politics and other disciplines.
(2) According to the research content, academic papers can be divided into theoretical research papers and applied research papers. Theoretical research focuses on the study of basic concepts and principles of various disciplines; Applied research focuses on how to transform the knowledge of various disciplines into professional technology and production technology, and directly serve the society.
(3) According to the purpose of writing, academic papers can be divided into communicative papers and evaluative papers. The purpose of communicative papers is only to discuss academically among professional workers and express their own views, so as to show the new trend of the development of various disciplines; The purpose of the assessment paper is to test the academic level and become an important basis for the promotion of relevant professionals.
Academic papers on temple murals
Textual research on Zhao temple murals
abstract
This paper introduces the contents of Nechung Monastery and Temple mural in Jokhang Temple in Hohhot, and discusses the relationship between the main statues in the mural. It is considered that the main statues in Nechung Monastery and Temple murals of Jokhang Temple in Hohhot are Baihar, blacksmith God and Brahma, which appear in a Buddhist temple, and there should be a certain relationship between them. This is of great significance to further reveal the relationship between Inner Mongolia and the central government and Tibet since the end of the Ming Dynasty.
key word
Jokhang Temple; Nechung Monastery and Temple murals; Content; The relationship between subject and image; Do textual research
Jokhang Temple is located in Yuquan District, the old city of Hohhot. What is its Mongolian name? Ikko？ (The Great Temple) is the largest Yellow Temple in Hohhot. The establishment of Jokhang Temple and other major monasteries in Hohhot made Hohhot a brilliant and beautiful town from the Ming Dynasty, and it was the cultural and economic exchange center between Mongolian, Tibetan and Han nationalities and Mongolia at that time. Jokhang Temple in Hohhot is considered to be one of many temples in Hohhot, because it provided the gold medal for Emperor Kangxi of the Qing Dynasty. Imperial temple? . As a religious art work, the Jokhang Temple mural not only has the purpose of promoting Buddhism and persuading people to be positive, but also embodies the content of Inner Mongolia ruling class to solve internal and external contradictions, stabilize people's hearts and maintain tribal unity. The murals in Zhao Temple are the product of the introduction of Tibetan Buddhist culture into Mongolian grassland since the end of16th century. The mural of Jokhang Temple referred to in this paper expresses the religious feelings of the Mongolian people in Tumote at that time with unique modeling language and painting, and is an important cultural relic to study the national history, Mongolian cultural history, Mongolian religious history and Mongolian-Tibetan relationship history at that time.
1. Textual Research on Nechung Monastery and Temple Mural of Jokhang Temple in Hohhot
The historical documents about Jokhang Temple in Hohhot are relatively complete, but the relevant records about Jokhang Temple Nechung Monastery and Temple are dwarfed, and there are few historical documents.
The existing ancient murals in Jokhang Temple mainly exist in the east, west and north main walls of Nechung Monastery and Temple Buddha Hall, the east and west sides of the north wall of Daxiong Hall and the Buddha Hall. The northern wall of Nechung Monastery and Temple of Jokhang Temple in Hohhot is 9. 1 m horizontally and 4.7m vertically. The walls on the east, west and north sides, from the top of the temple to the Buddhist platform, are covered with murals. The north wall has the largest area, the east and west walls are about 40 cm lower than the north wall, and the upper parts of the two walls are flat with the north wall of wood structure.
There are five main statues on the north wall of Nechung Monastery and Temple in Jokhang Temple, which are much larger than other statues in the mural. Compared with the other four statues, the statue in the center of the mural is the largest, and its size highlights its central position. There are many smaller statues scattered around these five statues.
Nechung Monastery and Temple of Jokhang Temple in Hohhot has the same name as Nechung Monastery and Temple of drepung monastery, Tibet. Nechung Monastery and Temple in Tibet is the patron saint of Baihar, so Nechung Monastery and Temple of Jokhang Temple in Hohhot should also have an inevitable connection with Baihar. The fifth portrait of the mural on the north wall from west to east is a white figure with three sides and six arms. The left three hands hold a knife, a bow and a staff respectively, and the right three hands hold a hook, an arrow and a sword respectively. The statue shows a game seat and the saddle is a snow lion, so the characteristics of the statue are consistent with the image description of God Baihar in the works of Austrian scholar Besky. The other four main statues on the north wall also correspond to the other four gods in the Five Gods of Baihar described in the book, so we can basically think that the five main statues on the north wall are the Five Gods of Baihar.
In addition, the book "Tibetan Lamaism Iconology" lists the image specifications of the five gods of Baihar, among which the descriptions of the five gods of Baihar are consistent with those of Nabiesky in "Tibetan Gods and Ghosts". Among them, Nabiesky described the orientation of the gods in the altar city composed of five gods in Behar as: Wang Di's interpretation in the center, the general survey of the king's gate of the body in the east, the king of the God of War in the west, the king of merit in the south and Wang Bai Hal in the north. The above description of the characteristics of the statue of the Five Gods of Baihar is basically consistent with the Five Gods in the mural on the north wall of Nechung Monastery and Temple in Jokhang Temple in Hohhot, so we can basically judge that the main statue depicted on the north wall of Nechung Monastery and Temple in Hohhot is the Five Gods of Baihar. The altar city formed by the group of five gods is an altar city centered on the interpretation of Wang Di's meaning. The order of the five main gods on the north wall of Nechung Monastery and Temple from west to east is: Menpubucha, King of Body; A man, the king of the god of language; Wang Di's interpretation of meaning; King of merit, wooden bird; And Wang Bai Hall, a leaf. Such a group of five gods formed an altar city centered on the interpretation of the meaning of Wang Di.
Let's turn our attention to the murals on the East Wall. The main portrait on the east wall wears a skull crown and looks angry. His arm is very long, with a burning bag in his left hand and a burning hammer in his right. This is a game seat. The seat is a brown goat. The main statue and saddle are very similar to the statue of Shan Jian who swore to protect the gods and ghosts. The only difference is, what are the statues in the book wearing? Wobesia? Or? Hat space? . The sworn protector is the protector of the tantric monastery of Gelug Sect and one of the three fundamental protectors of Ma Ning School. Worship king kong? 、? Good vajrayana? . Shan Jian riding a white lion with green mane and Dharma riding a sheep are also his main images. The protector riding a sheep pretends to be a blacksmith and is also called a protector by local blacksmiths in Tibet. His left and right hand-held objects, that is, the fire-blown leather bag and the copper flame hammer, are all related to the blacksmith, so they are generally called? The god of blacksmiths? .
The main portrait of the west wall painting corresponding to the east wall is facing the couple. There is a white conch on the top of the main statue, holding a spear, sword and cornucopia, which is a game seat and a white horse. According to the white conch on its head as the most important feature to identify its identity, Tibetan Buddhism calls it the conch protector statue on its head? White Brahma with sea bun? . The accompanying gods and angry gods of Brahma painted in this mural are basically the same as the statues mentioned in "Hidden Gods and Ghosts". White Brahma has a good figure and is in phase with Brahma's anger. The main image painted on the western wall is Brahma.
It can be seen that the northern wall of the Nechung Monastery and Temple Buddhist Temple in Jokhang Temple in Hohhot is a five-body-god-group altar city centered on Shi Wang Di; The owner of the east wall painting is regarded as the god of blacksmiths; The western wall painting is revered as Brahma. Because the main statues in Tibetan Buddhist painting must be painted in strict accordance with the relevant teachings, the posture of the statues is somewhat fixed and stylized. However, the seven deities in these three murals are all tall and burly, and the implication of Wang Di in the middle of the north wall is the most obvious, which has achieved the religious deterrent effect that temple murals should have. Other companion gods in Nechung Monastery and Temple's murals are also vividly painted.
Second, Jokhang Temple is the relationship between the main statues in the murals of Qiongmiao Buddha Hall.
The main statues in Nechung Monastery and Temple murals of Jokhang Temple in Hohhot are Baihar, blacksmith God and Brahma. The three appear in a Buddhist temple, and there should be a certain relationship between them.
Baihar, blacksmith and Brahma are the world protectors in Tibetan Buddhism, and they can predict the world. They all have the identity of the god of wealth, which is not difficult to see the good wishes of the upper class in Inner Mongolia for a rich life and a strong nation.
Baihar God and blacksmith God have the same wealth nature and are related in many images. Nechung Monastery and Temple murals in Jokhang Temple in Hohhot not only appear at the same time, but also have private collection of Tangka in Mongolia, in which Duojie Xiudan is the main image, the blacksmith god is in the lower right corner, and the five-body god group altar city with Baihar as the center is drawn in the middle of the left. In Thangka, a five-body god group in the Lama Temple, the blacksmith is directly under the deity. In this Thangka, apart from the five-body god group of Baihar, only the lotus nut and the blacksmith god are painted. In another Thangka painting in the Lama Temple, with Duoqi Xiudan as the main statue, the blacksmith god appears as his companion in the lower right corner of the picture. In the teachings of Tibetan Buddhism, Dorje Xiudan appeared as the successor of Baihar, which can reflect the relationship between Baihar and the blacksmith god.
In the history of Tibetan Buddhism, Baihar God and Baifan God also have a certain relationship. In Tibet in the Qing Dynasty, their position in Tibet's political and religious fields was supreme. In the teachings of Tibetan Buddhism, Baihar and BaiBrahma have multiple names. Is Nebesky here? White Brahma with sea bun? On the issue of sharing a name with Bai Hal, this explanation is given, that is? It is quite possible that some early translators sometimes use the ready-made Tibetan names of some deities originated in India when choosing their translation names? . Do some Tibetans think that Li Qinghala, known as the God of the White Fan, is a figure of Baihar or not? Avatar? .
Third, the conclusion
Nechung Monastery and Temple mural in Jokhang Temple in Hohhot is a precious historical relic, which is of great academic value to the study of Tibetan Buddhism in Inner Mongolia, especially the protection system. It is an artistic work of great significance in the development of Tibetan Buddhism in Inner Mongolia, and it is also of great significance to further reveal the relationship between Inner Mongolia and the central government and Tibet since the late Ming Dynasty.
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