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托林寺作为10世纪末西藏西部后弘期初期所兴建的第一座皇家寺院,在藏传佛教史上具有举足轻重的地位。它由当时从克什米尔学法归来的大译师仁钦桑布在古格王益西沃的支持下所修建,它的修建与同时期律宗的传入被视为藏传佛教后弘期“上路弘法”的开始。托林寺壁画的绘制面貌反映出当时古格王朝的审美追求,它以克什米尔风格为范本,与尊崇印度波罗风格的卫藏地区壁画相比呈现出截然不同的面貌,其题材也反映出当时古格王朝的政治特色和社会风貌。本文选取了托林寺红殿与白殿壁画中女性题材为研究对象,通过对女性题材出现的原因和作品特色的分析,试图证明在后弘期前后对于“女性”这一地位在藏地出现了变化,而这种变化在托林寺红殿壁画中得到体现。同时,通过与托林寺壁画中10—11世纪的女性题材形象的对比,说明在14—15世纪藏西绘画摆脱早期“克什米尔风格”的影响,逐渐本土化这一现象。
As the first imperial monastery built in the early post-Shangri-la period of Tibet in the late 10th century, the Tomlin Monastery played a pivotal role in the history of Tibetan Buddhism. It was built by Renjin Sambu, the great interpreter who was returning from Kashmir’s legal practice at the time, with the support of Guge Wang Yixivo. Its construction and the introduction of the same period were regarded as the later period of Tibetan Buddhism. “s begin. Tuolingsi mural paintings reflect the appearance of the pursuit of the ancient Guge Dynasty aesthetic pursuit of its Kashmir style as a template, and respect the Indian Baluo-style murals in the area compared to the Wei-Tibet showed a completely different look, the subject also reflects the ancient The dynastic political features and social outlook. In this paper, the female themes in Red Temple and Bai dynasty murals in the temple of Tuolinggao are selected as the research objects. Through the analysis of the causes of the occurrence of the female themes and the characteristics of the works, this paper attempts to prove that the ”female“ There has been a change, and this change is reflected in the frescoes of the red temple in the temple. At the same time, this article illustrates the phenomenon of gradually getting rid of the influence of early ”Kashmir ’s style in the 14th - 15th centuries and gradually localizing it with the comparison of female themes in the 10th - 11th century in the murals of the Tuolin Temple.