摘要
石门寺大雄宝殿的绘画遗存对研究汉藏艺术题材和风格的融合具有重要意义,为大明万历年间洮岷地区汉藏艺术交流交融的真实反映。文章基于大雄宝殿绘画遗存的调查和研究,对其壁画内容及藻井曼荼罗的主题进行辨识,发现释迦牟尼像与八大菩萨像的组合为壁画的主要内容,提出阿底峡与仲敦巴、宗喀巴形象的出现对明代河西地区藏传佛教寺院的图像学研究具有坐标意义。藻井所绘秘密集会曼荼罗与恶趣清净曼荼罗的图像配置也尤为关键,其绘画风格在继承明代独特的汉藏艺术遗风的基础上又具有地方特征,为进一步探究河西走廊明代藏传佛教寺院在形制上的复古意识,以及早期格鲁派的教义教规在这一区域的流行提供了新的线索。
The painting remains in the main hall of Shimen Temple are important for the study of the fusion of Han and Tibetan artistic themes and styles,and are a true reflection of the exchange and integration of Han and Tibetan art in the Taomin area during the Wanli period of the Ming Dynasty.Based on the research of the painting remains in the main hall,this paper identifies the content of its murals and the configuration of the mandala in the caisson,and finds that the combination of Shakyamuni and the eight bodhisattvas is the main configuration of the murals in Shimen Temple,and the appearance of the images of Atisa,vBrom ston pa,and Tsong kha pa is of coordinate significance to the study of the iconography of Tibetan Buddhist monasteries in the Hexi area of the Ming Dynasty.The configuration of the images of Guhyasamāja mandala and Durgatiparisodhana mandala painted in the caisson is also particularly crucial,and its painting style has local characteristics based on the inheritance of the unique Han and Tibetan artistic legacy of the Ming Dynasty.At the same time,it provides new clues to further explore the retro-consciousness of Tibetan Buddhist monasteries in the Hexi Corridor in the Ming Dynasty in terms of form and the popularity of the early dGe lugs sect doctrines and regulations in this region.
作者
那尕才让
更藏尖参
Nam-mkhav Tshe-ring;Kun-bzang rGyal-mtshan
出处
《中国藏学》
CSSCI
北大核心
2023年第3期177-189,219-220,共15页
China Tibetology
基金
国家社科基金重大项目“环喜马拉雅艺术图谱绘制”(项目批准号:19ZDA045)阶段性成果
关键词
石门寺
大雄宝殿
汉藏艺术
Shimen Temple
Main hall
Han-Tibetan art
作者简介
那尕才让,西藏大学艺术学院2020级中国少数民族艺术专业博士研究生;更藏尖参,西藏大学艺术学院2019级中国少数民族艺术专业博士研究生。(拉萨850000)
