摘要
11世纪的夏鲁寺壁画艺术分为1020年代、1040年代以及1080年代以后三个发展时期,经历过三种风格的演变与叠加,首先是波罗—中亚艺术风格中的早期“萨玛达类型”,中期出现直接来自印度的相对纯粹的波罗艺术风格,后期则是与扎塘寺壁画相类似的11世纪末叶夏鲁寺特有的综合艺术样式。夏鲁寺位于上、下两路弘法的交汇处,同时还与南亚建立关系,因而成为11世纪后弘期东、西、南三方的衔接点。这些充分展示了11世纪卫藏腹地年楚河流域曾有过多民族、多文化交流融合的历史。
The mural art of Shalu Monastery in the llth century can be divided into three developmental periods:the 1020s,1040s,and post-1080s,experiencing the evolution and superimposition of three styles.Initially,there was the early"Samada type"of the Pala-Central Asian art style.The middle period saw the emergence of a relatively pure Pala art style directly from India.The later period featured a unique comprehensive artistic style of Shalu Monastery in the late llth century,similar to the murals of Dratang Temple.Located at the intersection of the upper and lower routes of Buddhism propagation and establishing relationships with South Asia,Shalu Monastery became a connecting point for the eastern,western,and southern regions during the later diffusion period of the llth century.These fully demonstrate the history of multi-ethnic and multi-cultural exchange and integration in the Nyangchu Tsangpo River basin in the heartland of UTsang during the 1lth century.
作者
张亚莎
罗延焱
Zhang Yasha;Luo Yanyan
出处
《西藏研究》
CSSCI
北大核心
2024年第4期76-89,M0005,共15页
Tibetan Studies
基金
2018年度国家社科基金重大项目“中国岩画文化遗产资料集成及数据库建设”(项目编号:18ZDA328)阶段性成果。
作者简介
张亚莎,中央民族大学民族学与社会学学院教授。北京100082;罗延焱,西藏民族大学教育学院副教授。咸阳712082。
