汉地山水画之美学思想在勉唐派唐卡中的体现  

The Aesthetic Thoughts of Han Landscape Painting Contained in Mengthang School

作　　者：尼玛卓嘎 Nyima Dolkar

机构地区：[1]西藏大学文学院

出　　处：《西藏艺术研究》2024年第2期23-28,共6页Tibetan Art Studies

摘　　要：唐卡作为优秀文化中华传统之瑰宝,是一种重要的文化艺术形式。勉唐派唐卡作为十五世纪之后影响最大的绘画流派,以拉萨为活动中心,风靡卫藏地区。公元十七世纪布达拉宫扩建,勉唐派得到了格鲁教派的大力推崇,成为格鲁教派各大寺院的壁画与唐卡的绘画定式。作为唐卡艺术中规模最大的艺术派别,勉唐派开创了以严格的度量经作为唐卡绘画依据之先河。本文重点围绕铸牢中华民族共同体意识,全文贯穿民族交往交流交融历史,着重探讨了勉唐派唐卡与汉地山水画之间的关系。元朝以后西藏地区与中原地区之间的交往日益频繁。勉唐派作为当时藏地的主流画派,勉唐派的画师可以大量接触到汉地绘画作品,因而受汉地山水画之美学思想的影响,勉唐派在色彩搭配及构图方式上进行了突破与创新,造就了勉唐派唐卡清丽典雅的审美意蕴,展现出藏族绘画艺术的全新风貌。As a treasure of Tibetan culture and art,thangka is an essential form of culture and art.As the most influential painting school after the 15th century,Mengthang school,which centers activities in Lhasa,was famous in the U-Tsang area.In the 17th century,when the Potala Palace was expanded,the Gelug sect highly respected the Mengthang School,and it then became the default painting pattern of the murals and thangka in the major monasteries of the Gelug Sect.As the most prominent art school in thangka art,Mengthang School pioneered strict measurement as the basis of thangka painting.This article centers around the Chinese Nation's community consciousness and unity;it depicts the history of inter-ethnic and cultural exchanges and emphasizes the relationship between Mengthang and Han Chinese paintings of landscapes.After the Yuan Dynasty,the exchanges between Xizang and the central plains became more frequent.As the mainstream painting school in Tibetan areas at that time,the painters of Mengthang School had access to extensive Han Chinese paintings.Therefore,influenced by the aesthetic thoughts of Han Chinese landscape painting,Mengthang School made exceptional breakthroughs and innovations in color scheme and composition,which created the aesthetic connotation of Mengthang School and revealed a new style of Tibetan painting art.

关 键 词：唐卡 勉唐派 汉地山水画 美学思想 

分 类 号：J5[艺术—艺术设计]