西藏哲蚌寺措钦大殿二楼十六罗汉壁画初探——兼论与清宫同一题材唐卡之间的关系

发布时间：2018-04-08 20:45

本文选题：哲蚌寺　切入点：协热拉康殿壁画　出处：《故宫博物院院刊》2017年04期

【摘要】：哲蚌寺协热拉康殿十六罗汉壁画是五世达赖喇嘛下令、由清初西藏官方艺术流派创作的重要遗珍之一,与清代宫廷作品关系密切,但迄今未能引起学术界的足够重视。本文根据壁画图像和题记,结合当时的历史文献,认为壁画为1654年哲蚌寺措钦大殿扩建时期的作品,由曼塘派和钦孜派的五位重要大师领衔,按五世达赖喇嘛及西藏地方政府之令创作而成。通过文献和图像比较可知,十六罗汉壁画不仅与钦孜画派明代重要遗珍的贡嘎寺壁画具有直接渊源关系,主要出自钦孜派画家之手,而且与故宫博物院现存清宫佛日楼同一题材的唐卡藏品在风格上有着密切的关系,系清代西藏地方与以宫廷为首的内地藏传佛教艺术之间大规模、频繁互动的重要例证之一。
[Abstract]:The frescoes of Luo Han in the Temple of Drepung, which was ordered by the Fifth Dalai Lama, were created by the Tibetan official art schools in the early Qing Dynasty, and are closely related to the works of the court of the Qing Dynasty, but so far they have not attracted enough attention from the academic circles.Based on the images and inscriptions of the murals and the historical documents of the time, this paper holds that the murals are works of the extension period of the Drepung Temple's Tsochin Hall in 1654, led by five important masters of the Mantang School and the Qinzi School.Created by the decree of the Fifth Dalai Lama and the Tibetan local government.Through the comparison of documents and images, it can be seen that 16 Luo Han frescoes are not only directly related to the paintings of Gongga Temple, which is an important legacy of the Qin Zi School of painting in the Ming Dynasty, but mainly from the hands of the Qinzi School of painters.And the Tang card collection, which has the same theme as the Palace Museum, has a close relationship in style, which is one of the important examples of the large-scale and frequent interaction between Tibetan Buddhist art and Tibetan Buddhist art in the Qing Dynasty.
【作者单位】：四川大学中国藏学研究所历史文化学院考古系;西藏大学艺术学院美术系;
【基金】：2015年度教育部人文社会科学重点研究基地重大项目《明代汉藏艺术交流史研究》(15JJD850005)阶段性成果
【分类号】：K879.41

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