The murals in Dabaoji Palace are anonymous. According to the research of Lijiang's artists for many years, they might be regarded as the collective creation of the Ming painters during several hundred years, and is a crystal of art which merges the painting style of the Naxi, Tibetan, Bai and Han people. One of the distinctive features is the mixing together, in one mural, of the classic stories of Buddhism that came from Tibet (Lamaism) and the local people's own Buddhism adopted from India as well as Daoism. The painting technique is characterized by delicate and exquisite strokes containing the elements of condensation and compactness of the inland and Tibetan painting as well as the elements of boldness and dynamism of the Dongba painting and the Tibetan Lamaist painting. They are marked by strong contrast of colors, vividness and truthfulness of features, plumpness of figures and elaborateness of production. Click to enjoy more.
Lijiang Baisha Murals
The world famous Lijiang Fresco mixed the stories in Buddhism, Taoism and Lamaism into one picture. The bold and creative way is incredible and could not be imagined in other religious paintings in China. The Naxi's tolerance for other cultures and the location of Lijiang of Yunnan bordering on Sichuan and Tibet make the fresco a combination of painting skills of the Han, Tibetan, Bai and Naxi nationalities. That's why the color and composition are such harmonious.
The Lijiang fresco owed much to the opening policy of the Naxi in the Ming Dynasty. From the Ming to the beginning of the Qing, the tradition of making fresco lasted for three hundred years. The earliest one is in the Glazed Hall. It was painted before 1417. In the period, the religious painting in Central Plain of China had gone downgrade. In the Tang and Song dynasties, Taoism was popular. The famous painter all liked making religious paintings. Yan Liben, Wu Daozi was all the best religious painters. After the Ming, some painters left the central plain and came to the remote areas. Lijiang fresco was the successor of the Tang and Song fresco art and finally became an immortal treasure.