西藏中部铜佛像制作工艺传统的转换——从尼泊尔传统到昌都传统  

Transition of Bronze Technological Tradition of the Buddhist Sculptures in Central Tibet: From Nepalese Tradition to Chamdo's Tradition

作　　者：袁凯铮[1] 

机构地区：[1]北京大学考古文博学院,北京100871

出　　处：《西藏研究》2011年第4期93-104,共12页Tibetan Studies

摘　　要：自13世纪起,尼泊尔工匠成为西藏中部地区铜佛像制作工匠的主流,极大地影响了藏传佛教铜佛像艺术的整体面貌。昌都工匠群体源起于西藏东部昌都的嘎玛、柴维,铜佛像制作传统与历史上藏传佛教噶玛噶举教派的兴起有关。昌都铜佛像工匠群体在20世纪自东向西大规模迁徙拉萨,这与20世纪20年代十三世达赖时期遣散尼泊尔工匠启用西藏本土工匠的政策有关。20世纪中期以来,来自西藏东部昌都的铜匠在拉萨的铜像制作业中占有垄断地位,成为西藏本土铜佛像制作工艺传统的代表。Since the 13th century,Nepalese artisans have become the mainstream artisans of bronze Buddhist Sculpture making in central Tibet,which greatly influenced the art of bronze Buddhist Sculpture of Tibetan Buddhism.Chamdo artisan group were originated from Garma and Cêrwa in Chamdo,the eastern Tibet.The traditional forming of bronze Buddhist Sculpture making was relevant to the rising of Karma Kagyu sect of Tibetan Buddhism.In the 20th century,Chamdo artisan group migrated from east to Lhasa in large scale,which was relevant to the policy that demobilized Nepalese artisans back and employed the native artisans by the 13th Dalai Lama in 1920s.Since the mid-20th century,the artisan group from Chamdo have occupied a monopoly position of bronze Buddhist Sculpture making in Lhasa,and who also is the representatives of native tradition in Tibet.

关 键 词：藏传佛教 铜佛造像 工艺传统 尼泊尔 昌都 

分 类 号：TS934[轻工技术与工程]