摘要
唐卡是首批进入国家级非物质文化遗产名录的民间工艺美术,于2009年被联合国教科文组织列入《人类非物质文化遗产代表作名录》成为藏族艺术走向世界的名片,在当下以佛教题材为主流的唐卡画界,有一类唐卡意义厚重却鲜为人知,这就是山神唐卡。在民族艺术研究领域中,绘画作为文化的非文字表达,呈现出一种象征性表述,文章希望通过阐释山神唐卡深厚的历史文化积淀来论证这一类型唐卡在民族艺术研究与唐卡画界未被关注到的勉奋价值,借助图像叙事的研究方法,分析山神唐卡的表层语义与深层结构,窥看其内在文化秩序;山神唐卡如同一面明镜,映射出一个民族内心世界的秩序与平衡,不啻于民族艺术朝向世界文明的共鸣。
Thangka is one of the folk arts and crafts that first entered into the national intangible cultural heritage list.In 2009,it was listed by the UNESCO in the List of Representatives of Human Intangible Cultural Heritage,becoming the visiting card for Tibetan art to go to the world.However,in the Thangka painting circle with Buddhist themes as the mainstream,there is a kind of Tangka that is meaningful but little known-mountain deities.In the research field of minority art,Tangka painting presents a symbolic expression as a non-verbal expression of culture.By elaborating on the profound historical and cultural accumulations of mountain deities Thangka,this paper aims to demonstrate the value of diligence and vigor found in such Thangka,which hasn’t been touched upon by ethnic art studies and Thangka experts.Based on the research method of image narrations,it analyzes the surface meaning and in-depth structure of mountain deities Thangka,before delving into its internal cultural order.Mountain deities Thangka acts as a mirror reflecting the internal balance and order of a minority group,representing a minority art resonating in the world civilizations.
作者
周毛
扎西南杰
Zhoumao;Zhaxinanjie
出处
《青海民族研究》
CSSCI
北大核心
2020年第1期184-189,共6页
Qinghai Journal of Ethnology
基金
厦门大学2017年研究生田野调查基金项目《热贡山神唐卡的人类学研究》(批准号:2017GF004)阶段性成果
关键词
山神
山神造像
图像叙事
文化秩序
Mountain Deities
Images of Mountain Deities
Image Narration
Cultural Order
作者简介
周毛(1988-),女,藏族,青海黄南人,厦门大学人类学与民族学系博士研究生,主要从事艺术人类学与唐卡艺术研究;扎西南杰(1986-),男,蒙古族,青海黄南人,西北民族大学美术学院教师,主要从事唐卡绘画技法与理论研究。
