浅析噶如班智达洛桑西绕对工巧学的贡献

发布时间：2018-01-13 14:10

本文关键词：浅析噶如班智达洛桑西绕对工巧学的贡献　出处：《西藏大学》2017年硕士论文　论文类型：学位论文

更多相关文章： 噶如班智达 壁画 工艺学 唐卡 艺术风格

【摘要】：噶如班智达·洛桑西绕是十八世纪安多热贡地区近代历史上同时精通藏传佛教绘画、雕塑两大艺术门类,且作品独具匠心的著名艺人之一。他从小在系统研习佛教五部大论的基础上,拜当地最具著名的夏卜愣画家嘉j#洛哲为师,开始学习绘画和雕塑,逐渐系统掌握了勉唐、钦则两大流派的绘画和雕塑技艺。正如他自己所言:“以往大师勉拉顿珠尊,当今吾姓詹嘉氏;作品之异即拿度量学,甚难分辨非画师;文殊化身勉氏尊,流派传承非我谁”等,从中足以管窥他的艺术造诣和专业自信。噶如班智达·洛桑西绕的壁画作品不仅在热贡年都乎寺、郭麻日寺有所保留,其唐卡作品还广泛流传于甘肃拉卜楞寺、青海扎西齐寺、隆务寺、叶雄寺、文都大寺、拉莫寺等寺庙。特别值得一提的是,上师嘉j#洛哲所讲述的《米札百像概论·金刚乘释难宝镜》一书,最初由噶如班智达·洛桑西绕整理公开刊布后受到了第七世达赖喇嘛格桑嘉措的高度青睐,并命人按其著述修建了布达拉宫立体坛城殿内的胜乐、密集、大威德三尊金铜立体坛城。直至今日我们仍能从曲玛、年都乎、郭麻日、尕萨日等地的绘画、雕塑作品上窥见他的绘画风格,噶如班智达·洛桑西绕精巧的绘画、雕塑手艺对后辈热贡艺术的发展产生了深远的影响。这篇拙文从热贡艺术史的历史概括入手,简述噶如班智达·洛桑西绕的师父嘉j#洛哲和前世叶雄活佛且巴仁波且·丹贝坚赞两位大师的工艺学作为,重点收集整理和研究噶如班智达洛桑西绕为工艺学的传承发展遗留的壁画、唐卡,同时,研究分析了当时与噶如班智·达洛桑西绕有关联的诸位画家的手艺真迹和著述。在此基础上,鉴赏国内外博物馆收藏的与噶如班智达·洛桑西绕艺术风格相同的艺术品和著作,对噶如班智达·洛桑西绕的绘画和雕塑艺术风格有了一定的了解。通过简述噶如的绘画和雕塑艺术风格,比较噶如亲手塑造的钦则画派和贡嘎岗朵钦则钦莫南嘉居士两种风格,由此,尽己所能对公元十八世纪兴盛于热贡地区的美术风格进行了研究。
[Abstract]:In 18th century, Garuda Losangsi was a master of Tibetan Buddhist paintings and sculptures in the modern history of the Ando Regong region. On the basis of his systematic study of the five major theories of Buddhism, he began to learn painting and sculpture by worshiping the most famous local painter, JJ # Luo Zhe, as a teacher. He gradually mastered the painting and sculpture techniques of Mian Tang and Qin Zen of two major schools. As he himself said: "in the past, Master Mian Ratton Zhu Zun, my name is Jengjia;" It is very difficult to distinguish the non-painters from the difference of the works, that is, the metrology. Manjusri incarnates Mian's respect, and so on, "and so on," and so on. "it is enough to see his artistic attainments and professional self-confidence. The murals of Kagu Zhida Losansi are not only the monastery in the year of Regon, but the Temple of Guo Ma Ri has some reservations. His Tangka works are also widely spread in Gansu Labran Temple, Qinghai Zaxiqi Temple, Longwu Temple, Ye Xiong Temple, Wendu Temple, Lamo Temple and other temples. The book, "introduction to the Mizapei, King Kong's interpretation Mirror," by JJ # Luo Zhe, was originally arranged by Kali Banjda Losansi, and was highly favored by the 7th Dalai Lama, Gesangatuo. And ordered people to build according to his works of the Potala Palace Tridimensional Tan Temple, dense, three gold and copper grand Wilde three-dimensional cities. To this day, we can still from the Tama, all the years, Guo Ma Day, Gasa Day and other places of painting. In his sculptures, there's a glimpse of his painting style, and Garuda Losansi's exquisite paintings. Sculpture technology has a profound impact on the development of the later generations of the Regong art. This article from the history of the history of Regong art summarized. A brief account of the technological work of the two masters, Kajj# Lodzhe and Ye Xiong, living Buddha and Barenbo and Dembaijian, by Kali Zhi da Lossansei, was briefly described. Focus on the collection of collation and research on Karuzhida Lobsang Xichuan for the inheritance and development of the craft of the legacy of the murals, Tangka, at the same time. The study analyzed the artistry and writings of the painters associated with Karuji Dar Lobsang at the time. On this basis. Appreciate the works of art and works of art in the same style as those of Garuda Losansi in museums at home and abroad. We have a certain understanding of the painting and sculpture styles of Kagyu by outlining the painting and sculpture styles of Kagyu. Comparing the two styles of Kagaru painting school and Gongagang Dauchin Chin Monan Jia Jusi style, the fine arts style that flourished in Jiegong area in 18th century was studied as far as possible.
【学位授予单位】：西藏大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J05

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