The use of the grid system and diagonal lines in Chinese architectural murals: a study of the 14th century Yongle gong temple with further analyses of two earlier examples, Prince Yide’s tomb and Yan shan si temple
Yongle gong (永乐宫) is a Daoist temple built between the middle of the 13th century to the end of the 14th century in Shanxi province (山西), China. The temple features both figural and architectural mural paintings. The figural paintings are among the most highly regarded examples in China. Conversely, the architectural paintings have scarcely attracted any scholarly attention so far.
To understand the depiction methods used in the architectural paintings of Yongle gong, this analysis aims at approaching the design and depiction process from the artist’s point of view. Therefore, painting principles from ancient Chinese texts are studied. Two particularly relevant principles were identified: Jing ying wei zhi (graphic composition, 经营位置) and Xiang bei (the three-dimensionality of buildings, 向背). Two methods seem critical for the implementation of these principles, namely Hua ge (画格) or Fang zhuo (方卓) referring to the use of the grid system, and Yi qu bai xie (一去百斜) and Yi xie bai sui (一斜百随) referring to the use of diagonal lines. Yet their original meanings and graphic expression have not been subjected to thorough analysis. The methodology of this study will be to use the painting principles and their methods of depiction as a framework for an empirical graphic investigation of architectural mural case studies. It is expected that the understanding resulting from these analyses will clarify the meanings of those painting principles and exemplify their depiction methods.
Three research questions guide this thesis:
1. How were architectural murals composed graphically?
2. How were diagonal lines used in architectural murals?
3. How can the meaning of Jing ying wei zhi, Xiang bei, Hua ge, Yi qu bai xie and Yi xie bai sui be interpreted in relation to architectural murals?
This study of Yongle gong's architectural paintings investigates how the grid system was used for the murals’ overall design and how diagonal lines were employed to depict the three-dimensionality of buildings. The findings in Yongle gong's architectural murals are then tested against the depictions of the murals of Prince Yide's tomb (懿德太子墓, 8th century) and those of Yan shan si temple (严山寺, 12th century). These tests confirm the meaning of the term Jing ying wei zhi and the relevance of the grid system, Hua ge or Fang zhuo, for the mural layout. The term Xiang bei refers to the illustration of the three-dimensionality of buildings and relates to the use of elevations and diagonal lines. Its division into Yi xie bai sui and Yi qu bai xie is studied in relation to the use of parallel and converging lines.
