西藏错那县扎西通美寺杜康大殿十六罗汉壁画初探  

Research on the Sixteen-Arhat Painting in the Dukhang Hall of bKra shis mthong smon Monastery at Cona County of Tibet

作　　者：王小维 刘晓彤 张宇 Wang Xiaowei;Liu Xiaotong;Zhang Yu

机构地区：[1]榆林学院艺术学院 [2]西藏大学艺术学院

出　　处：《西藏艺术研究》2023年第2期76-91,共16页Tibetan Art Studies

基　　金：2022年度西藏大学高水平人才培养计划项目“13-18世纪内蒙古藏传佛教绘画形式与语言之流变”(项目编号2020GSPB026),阶段性成果;榆林学院2022年度博士科研启动基金项目“藏族传统肖像画研究”(项目编号22GK32)阶段性成果。

摘　　要：扎西通美寺杜康大殿保存有16世纪中期绘制的十六罗汉壁画,作为早期勉唐派作品的珍贵遗存,既是西藏十六罗汉绘画流变研究的关键性作品,更是汉藏文化与美术交流的典型。将扎西通美寺杜康大殿十六罗汉壁画与卫藏地区早于它的几组十六罗汉绘塑作品进行图像特征的比对与分析,说明其图像源自“永乐样式”的罗汉绘画,并通过在此进一步的风格分析,揭示其并非是“永乐样式”罗汉绘画风格的复制与再现,而是藏族画师依据本民族文化与审美特质的主动创造,是对“永乐样式”罗汉图像进行的转译与本土化再创造。The Sixteen-Arhat Painting created mid-16th century is preserved in the Dukhang Hall of bKra shis mthong smon Monastery is a precious relic of the early Mengthang School.This painting is the key work in studying the evolution of the Sixteen-Arhat paintings and the typical representation of the cultural and artistic exchange between the Han Chinese and Tibetan cultures.By comparing and analyzing the visual characteristics of the Sixteen-Arhat painting in the Dukhang Hall of bKra shis mthong smon Monastery with several other earlier Sixteen-Arhat sculptural and painting works,it is evident that its images originated from the'Yongle style'of Arhat paintings.Further stylistic analysis reveals that this painting is not a mere copy or reproduction of the'Yongle model'Arhat painting but rather as the proactive creation of Tibetan artists,who interpreted and localized the"Yongle style"Arhats imagery with their own cultural and aesthetic characteristics.

关 键 词：罗汉画 白玛噶波 永乐样式 

分 类 号：J51[艺术—艺术设计]