Author(s)

Zhang Qiuying

Corresponding Author

Zhang Qiuying

ABSTRACT

From the perspective of art sociology, this article adopts the research paradigm of “art world” and “cultural production” to carry out a case study on murals in Jingzhen Buddhist Temple in Xishuangbanna and explore the “production” and “autoproduction” process of Theravada Buddhist murals, thereby concluding that the “production” of Theravada Buddhist murals is not the achievement of individual painter, but proves to be co-generated by the “art world”, namely the cooperative network composed of members of the Buddhist Temple Affairs Management Committee, the village group, believers, and painter, under the regulations and influence of various realistic social factors; while due to the publicity and sanctity of Theravada Buddhist murals as well as the particularity of its audience, the relevant “autoproduction” has facilitated the continuous sound interaction between the “production” and “autoproduction” of Theravada Buddhist murals.

KEYWORDS

Theravada Buddhist mural, art world, production, autoproduction