摘要
夏鲁寺早期壁画(1027-1045年)风格延承了吐蕃时期佛教艺术传统,对其他地域元素兼收并蓄,具有较强的多元性,是西藏后弘初期重要的壁画遗存。本文主要从人物造型、色彩、技法、头光和身光、背龛和宝座靠背、莲座、植物和动物、头饰和服饰等要素入手,通过与11-12世纪东北印度贝叶经插画,唐宋时期敦煌石窟与山西寺院壁画、塑像,高昌回鹘时期柏孜克里克壁画,以及同一时期西藏本土寺院壁画与唐卡绘画比对,对其壁画中所蕴含的东北印度波罗艺术、尼泊尔艺术以及内地与中亚艺术元素等多元风格艺术元素加以细致分析,借以丰富我们对于西藏佛教艺术的特质以及后弘初期西藏佛教艺术多元性的认识。
The early mural paintings of Zhwa lu Monastery(1027-1045),which inherited the Buddhist art traditions of the Tubo period and incorporated other regional artistic elements,are highly diverse and important remains that belong to the early phyi dar period of Tibet.In this paper,through the analysis of the motifs of the figures,coloring,brushwork,nimbus,thrones,lotus seats,floral and animal motifs,and garment ornaments,the author discusses the multi-style artistic elements from northeastern Indian Pala,Nepal,Central China and Central Asia etc.,that are embedded in these early Zhwa lu murals.By comparing the early mural paintings of Zhwa lu Monastery with the illustrations in the Northeast Indian palmleaf manuscripts of the 11"-12"century,the murals and statues in the Dunhuang caves and in Shanxi monastery of the Tang and Song Dynasties,the murals of Bezeklik caves of the Gaochang Uighur period,and the murals and Thangka paintings of Tibet of the same period,our understanding of the characteristics of Tibetan Buddhist art and its diversity in the early phyi dar period is enriched.
作者
杨鸿蛟
Yang Hongjiao(Museum of Tibetan Culture,China Tibetology Research Center)
出处
《藏学学刊》
2021年第2期187-213,462,共28页
Journal of Tibetology
基金
国家社科基金重大项目“西藏阿里后弘期初的佛教遗存与多民族交融研究”(19ZDA177)阶段性成果。
作者简介
杨鸿蛟,中国藏学研究中心西藏文化博物馆副研究馆员。
