Visual language of Three Religions in One — Artistic Analysis of the Lijiang Baisha Mural Shakyamuni Buddha Sea Meeting

The Baisha Murals are a significant part of the world cultural heritage of Lijiang Ancient Town. Among these, the murals in Dabaoji Palace are the largest in scale, best preserved, and most exquisitely painted, integrating elements of Han Buddhism, Taoism, and Tibetan Buddhism, combining traditional painting techniques of the Chinese and the Tibetan, the Naxi and the Bai ethnic groups. They are valuable material for researching the ethnic history, art history, and the history of religions of the Naxi people. This paper focuses on the mural Shakyamuni Buddha Sea Meeting in Dabaoji Palace, analyzing the visual language of the mural based on its painting methods such as the composition of religious figures, scale and proportion, color and line features, and the synergy between murals and architectural space. Interpreting the historical and social context of Lijiang during the Ming Dynasty, this paper explores how the environmental, material, and spiritual dimensions of the Baisha Mural are interconnected to create a realm of mental experiences of Buddhism, elucidating the cultural connotations, aesthetic significance, and historical value of the murals represented through “three religions in one." It reveals the complex interaction between material and spiritual content, real-world and fictional settings in religious art, inspiring contemporary artists to draw inspiration from historical classics and explore the diverse values of cultural heritage.