Temple Art, Architecture and Theatre

A special issue of Religions (ISSN 2077-1444). This special issue belongs to the section "Religions and Humanities/Philosophies".

Deadline for manuscript submissions: closed (30 January 2026) | Viewed by 2948

Special Issue Editors


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Guest Editor
Faculty of Arts and Social Sciences, The University of Sydney, Sydney, NSW 2006, Australia
Interests: art and archaeology; magic, myth, and ritual; Chinese musical drama; history of Chinese theatre; Chinese folk and temple theatre; Chinese folk religion and ghostlore
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Guest Editor
School of Architecture, Design and Planning, The University of Sydney, Sydney 2006, Australia
Interests: Chinese urban form and planning; architectural history; architecture and urbanism in developing countries; sustainable neighbourhood design
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Guest Editor
College of Arts, Sichuan University, Chengdu 610017, China
Interests: Buddhist art history; Buddhist art archaeology; overseas collections of Chinese art; museum curation

Special Issue Information

Dear Colleagues,

We are delighted to invite submissions for a Special Issue dedicated to exploring the intricate relationships between temple art, architecture and theatre. For the purposes of this issue, ‘temple’ is defined broadly to include all religious buildings such as abbeys, churches, monasteries and other sacred spaces. These structures have long been central to religious and cultural life, serving as sacred spaces where art, architecture and performance converge.

Temples not only provide a venue for worship but also act as hubs of community engagement and creative expression, reflecting the artistic heritage and spiritual values of the cultures they represent. By examining the interplay between temple art, architecture and theatre, we can gain deeper insights into how these elements contribute to the construction of identity and community within diverse religious traditions.

Temple art encompasses a wide array of visual expressions, from intricate carvings and sculptures to vibrant paintings, each imbued with symbolic meaning. Temple architecture, with its diverse styles and structural innovations, reflects the spiritual and cultural values of the communities that created them. Temple theatre, often manifested through ritual and theatrical performances, enlivens these sacred spaces, establishing a dynamic interplay between the physical and the performative.

This Special Issue aims to bring together interdisciplinary perspectives that illuminate the cultural, historical, theatrical, architectural and religious significance of temples as venues for artistic expressions, theatrical practices and spiritual experiences.

Themes and Topics of Interest

We invite submissions that address, but are not limited to, the following topics:

  • Temple and/or Temple Theatre Architecture: Form and Transformation
  • Religious Art and Sacred Space: Exploration of how visual art contributes to the sanctity and aesthetics of religious spaces.
  • The Symbolic and Functional Aspects of Religious Architecture: Analysis of how architectural elements symbolise and support religious practices.
  • Rituals and Performances in Temple Theatre: Examination of theatrical performances, rituals and ceremonies conducted within temple premises.
  • Temple Art and Iconography: Detailed studies on the iconographic programmes of temples and their religious significance.
  • Architectural Design and Built Environments of Religious Buildings: Examination of the design and construction of temples, churches, abbeys and monasteries, and their role in creating sacred spaces.
  • Comparative Studies of Religious Art Across Cultures: Comparative analyses of religious art from different cultural and religious traditions.
  • Conservation and Preservation: Discussions on the challenges and strategies for preserving temple art, architecture and theatre traditions as integral components of tangible and intangible cultural heritage in the modern era.
  • The Impact of Religious Art on Community Identity and Spiritual Practice: Exploration of how religious art influences community identity and spiritual practices.
  • The Transformation of Physical Spaces into Sacred Realms: Examination of how artistic expressions transform physical spaces into sacred realms.
  • Theological and Philosophical Reflections on Sacred Space and Art: Discussions on the theological and philosophical aspects of sacred spaces and religious art.
  • The Influence of Contemporary Art on Traditional Sacred Spaces: Analysis of how contemporary art interacts with and influences traditional sacred spaces.
  • Religious Sites as Venues for Performances: Studies on how religious sites serve as venues for ritual, musical and theatrical performances.
  • Temple Festivals: Examination of ritual, musical and theatrical performances during temple festivals in association with their role in shaping sacred spaces and contributing to the sacred atmosphere.
  • Theatrical Traditions in Temples: Analysis of specific theatrical traditions and their historical development within temple contexts.
  • Impact of Modernity on Temple Practices: Exploration of how modernity and contemporary practices influence traditional temple art, architecture, and theatre.
  • Case Studies of Specific Religious Artworks: Detailed studies on particular religious artworks and their spatial and spiritual contexts.
  • Case Studies of Specific Religious Structures: In-depth analyses of specific religious buildings and their spatial and spiritual contexts.
  • Case Studies of Specific Temple Theatres: Detailed examination of specific temple theatres and their stages designed for ritual and theatrical performance.

We request that, prior to submitting a manuscript, interested authors initially submit a proposed title and an abstract of 200–300 words summarising their intended contribution. Please send it to the Guest Editors, or to the Assistant Editor of Religions. Abstracts will be reviewed by the Guest Editors for the purposes of ensuring proper fit within the scope of the Special Issue. Full manuscripts will undergo double-blind peer review.

We look forward to receiving your contributions.

Prof. Dr. Xiaohuan Zhao
Prof. Dr. Duanfang Lu
Prof. Dr. Qing Chang
Guest Editors

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 250 words) can be sent to the Editorial Office for assessment.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Religions is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1800 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • temple
  • art
  • architecture
  • theatre

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Published Papers (3 papers)

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Research

22 pages, 32105 KB  
Article
The Revival of the ’Bri Gung Bka’ Brgyud School in Western Tibet: Focus on the Murals in the ’Du Khang of Gung ’Phur Monastery at sPu Rang in mNga’ Ris, Tibet
by Yunyun Liang
Religions 2026, 17(1), 124; https://doi.org/10.3390/rel17010124 - 22 Jan 2026
Viewed by 153
Abstract
Based on the previous investigation results, this article investigates the ’Du khang of Gung ’phur Monastery in sPu rang, mNga’ ris, identifying the images and corresponding inscriptions on its four walls and interpreting the meaning of the murals. The study concludes that the [...] Read more.
Based on the previous investigation results, this article investigates the ’Du khang of Gung ’phur Monastery in sPu rang, mNga’ ris, identifying the images and corresponding inscriptions on its four walls and interpreting the meaning of the murals. The study concludes that the murals were executed in the Water-tiger year (1602), with involvement from the local king and his minister, as well as native donors and painters from neighboring Nepal. A comparative analysis with relevant temples in sPu rang and Ladakh reveals that the murals reflect the popular themes of the ’Bri gung bka’ brgyud school in Western Tibet from the mid-16th to the early 17th century. As such, the murals attest to the spread of the school in mNga’ ris, and provide first-hand materials for research on the history and royal family of sPu rang around the 17th century. Full article
(This article belongs to the Special Issue Temple Art, Architecture and Theatre)
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19 pages, 35118 KB  
Article
Temple Painting and Vernacular Narratives: The Case of the Miaoshan Story Mural of Guanyin Monastery, Xinjin, Sichuan (Mid-Fifteenth Century)
by Rostislav Berezkin
Religions 2026, 17(1), 32; https://doi.org/10.3390/rel17010032 - 28 Dec 2025
Viewed by 502
Abstract
This paper examines the complex connections between religious painting and vernacular narratives during the Ming dynasty through a case study of the Miaoshan story mural in the Vairochana Hall (Piludian 毗盧殿) of Guanyin Monastery (Guanyinsi 觀音寺) in Xinjin 新津, Sichuan (near Chengdu). [...] Read more.
This paper examines the complex connections between religious painting and vernacular narratives during the Ming dynasty through a case study of the Miaoshan story mural in the Vairochana Hall (Piludian 毗盧殿) of Guanyin Monastery (Guanyinsi 觀音寺) in Xinjin 新津, Sichuan (near Chengdu). This mural constitutes the earliest precisely dated surviving example (completed in 1468 and renovated in 1756) of pictorial representations of the Miaoshan story in China, the popular hagiography of Bodhisattva Guanyin that gained wide circulation in Buddhist communities during this period. Although this narrative painting has already attracted scholarly attention, many questions concerning its origins and meaning remain unresolved. Through a comparison with the earliest extant textual variants of the Baojuan of Xiangshan (香山寶卷, reprinted editions of 1772 and 1773), this paper demonstrates the distinctive features of the Xinjin mural. It further situates the mural within the broader history of visual representations of the Miaoshan story from the fifteenth and sixteenth centuries that survive in Sichuan and Beijing. This case study reveals the significant influence of vernacular narrative traditions on Buddhist art during the Ming dynasty, while also showing that the Xinjin mural represents an independent version of the Miaoshan narrative that was not preserved in later written sources. Full article
(This article belongs to the Special Issue Temple Art, Architecture and Theatre)
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24 pages, 4055 KB  
Article
Artistic Integration and Localized Adaptation: An Analysis of Roof Ridge Decorations in the Sinicization Process of the Yungang Grottoes
by Zi Wang and Qing Chang
Religions 2025, 16(12), 1562; https://doi.org/10.3390/rel16121562 - 11 Dec 2025
Viewed by 684
Abstract
The Yungang Grottoes, carved by imperial commission from the Xianbei 鮮卑 royal family of the Northern Wei Dynasty, represent a pivotal site for understanding Buddhism’s sinicization in China. This study examines the roof ridge decorations from the Yungang Grottoes as material evidence of [...] Read more.
The Yungang Grottoes, carved by imperial commission from the Xianbei 鮮卑 royal family of the Northern Wei Dynasty, represent a pivotal site for understanding Buddhism’s sinicization in China. This study examines the roof ridge decorations from the Yungang Grottoes as material evidence of cultural transformation during the eastward dissemination of Buddhism along the Silk Road. Through systematic analysis of five decorative elements—chiwei 鴟尾, phoenix, garuda 金翅鳥, triangular patterns, and flame beads—this research reveals how indigenous Chinese architectural traditions integrated with Buddhist iconography. The findings suggest that these roof ridge decorations offer compelling evidence of the sinicization of Buddhist art in China, a process that established a distinctive esthetic synthesis balancing foreign religious symbolism with local cultural expression. This localization process created foundational models for Buddhist artistic development throughout East Asia, illuminating the mechanisms of cross-cultural religious adaptation in medieval China. Full article
(This article belongs to the Special Issue Temple Art, Architecture and Theatre)
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