勉唐画派的中观美学观研究  

Research on the Mian Tang Tangka Painting School’s“Middle Way”Aesthetic Perspective

作　　者：李凌云 熊永松 Li Lingyun;Xiong Yongsong

机构地区：[1]西藏大学艺术学院,拉萨850000 [2]湖南师范大学美术学院,长沙410081

出　　处：《西藏研究》2024年第1期104-113,158,159,共12页Tibetan Studies

基　　金：2020年度国家社科基金艺术学重点项目“西藏民间工艺的文献整理、传承人群调查及市场研究”(项目编号:20AG010)阶段性成果。

摘　　要：勉唐画派作为藏族传统绘画流派,其美学观与藏传佛教格鲁派哲学思想关系密切,次第修行观主要影响了勉唐画派创作方法,使之呈现出井然有序的法度美;“二谛论”是勉唐画派审美内容上世俗与神圣、审美思维上感性与理性相圆融的深层原因;“智悲双运”中大慈大悲的求善精神与空性智慧的真谛追求,则融入了勉唐画派寂静涅槃的究竟审美理想。The aesthetic perspective of the Mian Tang School,is strongly associated with the Gelug School’s philosophy.This thesis,which is based on the Gelug School’s middle way philosophy,explains and illustrates the three dimensions of the Mian Tang School of painting’s“middle way”aesthetics-the beauty of law in order,the beauty of harmony between truth and vulgarity,and the beauty of silence and nirvana.The Mian Tang painting style,which emphasized the beauty of lawful order,was primarily influenced by the organized practice approach in its creative process.The ideological basis of“Two Truths”underpins both the aesthetic thinking between the perceptual and the intellectual,as well as the aesthetic content between the sacred and the secular.The pursuit of the real meaning of empty understanding in“wisdom and compassion”and the attitude of kindness and compassion are incorporated into the Mian Tang painting school’s quiet aesthetic ideal.

关 键 词：勉唐画派 格鲁派 中观美学 

分 类 号：B946.6[哲学宗教—宗教学] J209.9[艺术—美术]