摘要
扎塘寺壁画在11世纪卫藏艺术环境中存在“孤立性”:扎塘寺壁画所代表的“波罗—中亚”艺术风格在11世纪卫藏并不具备普遍性。它与11世纪出现在卫藏的大昭寺壁画与唐卡遗存,时空背景相同却缺乏可比性,造型风格也明显不同;即使是被认为关系密切的夏鲁寺壁画,彼此之间也缺乏直接的关联性。从图像学角度分析,扎塘寺壁画至少占60%以上的艺术因素均与吐蕃王朝后期流行于敦煌中唐时期的“吐蕃—波罗”艺术样式相关,但二者在年代上相距两百余年,地理上也相距遥远,彼此如何衔接才是研究的关键。文章认为,9世纪中叶吐蕃王朝时期的“吐蕃—波罗”艺术,在卫藏因吐蕃王朝的崩溃而消失,但是在甘青西北吐蕃中仍有延续并发展成为“波罗—中亚”艺术样式,10世纪后期才随“下路弘法”从多康之地再返卫藏。壁画中出现的精美的汉服供养人形象,也间接地证明了卫藏与西北青唐吐蕃唃厮啰政权的特殊关系。通过比较与考证,文章提出结论:扎塘寺壁画继承了8—11世纪佛教吐蕃化传统,同时部分吸收了11世纪新进卫藏的波罗艺术风格影响,实现了外来波罗面相与本土服饰的完美结合。12世纪之后新的印度波罗艺术逐渐占据主导地位,扎塘寺艺术所代表的早期传统样式遂被完全覆盖,因此,其艺术史地位代表着“波罗—中亚”艺术样式在其结束之前的最后辉煌。
The murals of Dram-thang Monastery are“isolated”inthe art environment of dBus-gtsang(the central Tibet)inthe 11th century:it hasthe same time and space background asthe murals of Jokhang Temple inthe 11th century,but lacks comparability,andthe modeling style is obviously different;eventhe murals of Shalu Monastery,which are considered to be closely related to Dram-thang murals,also lack direct correlation with each other.Fromthe perspective of iconography,at least 60%ofthe artistic factors of Dramthang murals are related tothe“Pala-Tubo”art style popular in Dunhuang ofthe middle Tang Dynasty,butthey are two orthree hundred years apart in times and geographically far apart.The author believesthat inthe middle ofthe 9th century,the art style of“Pala-Tubo”duringthe Tubo period disappeared in dBusgtsang due tothe collapse ofthe Tubo,however,at Tibetan residential area in Gansu and Qinghai Provinces,this art not only continued,but also developed intothe art style of“Pala-Central Asia”.Inthe late 10th century,this artistic style returned to dBus-gtsang again fromthe place of mdo-khams,withthe“bstan pa smad nas dar ba”.The exquisite image ofthe patron of Han clothes appeared inthe Dram-thang murals,which also indirectly provedthe special relationship between dBus-gtsang andthe Tibetan Jo sras regime in Northwest China.The murals in Dram-thang monastery inheritedthe Tibetan tradition of Buddhism fromthe 8th-11th centuries,and partially absorbedthe influence ofthe Pala art style newly entered into dBus-gtsang inthe 11th century,realizingthe perfect combination of foreign Pala faces and local costumes.Afterthe 12th century,the new Indian Pala art began to dominate,andthe early traditional art style represented by Dramthang Monastery was completely covered.Therefore,its art history status representsthe final glory ofthe art style of“Pala-Central Asia”before its end.
作者
张亚莎
威丽斯
ZHANG Ya-sha;WEI Li-si
出处
《中国藏学》
CSSCI
北大核心
2022年第1期177-187,219,220,共13页
China Tibetology
关键词
扎塘寺壁画
艺术渊源
波罗—中亚艺术风格
敦煌艺术
Murals of Dram-thang Monastery
Artistic origin
Art style of"Pala-Central Asia"
Dunhuang art
作者简介
张亚莎,中央民族大学民族学与社会学学院教授;威丽斯,中央民族大学民族学与社会学学院人类学专业2016级博士研究生。(北京100081)。
