11世纪卫藏绘画的“波罗面相”研究  

A Study on the"Pala Style Faces"in 11th Century U-Tsang Paintings

作　　者：张亚莎[1] 罗延焱 Zhang Yasha(School of Ethnology and Sociology,Minzu University of China,Beijing,100082)

机构地区：[1]中央民族大学民族学与社会学学院,北京100082 [2]西藏民族大学教育学院,陕西咸阳712082

出　　处：《西藏民族大学学报（哲学社会科学版）》2024年第4期29-38,154,共11页Journal of Xizang Minzu University：Philosophy and Social Sciences Edition

基　　金：国家社科基金重大项目“中国岩画文化遗产资料集成及数据库建设”(项目号:18ZDA328)的阶段性成果。

摘　　要：11世纪卫藏绘画艺术遗存数量很有限,却呈现出纷呈多样、错综复杂的样貌。按壁画、唐卡中人物面相,当以届时进入卫藏的东印度波罗艺术样式为主,以往的研究也认为,11世纪末叶出现的扎塘寺壁画中的人物其面相亦当如此。然而新的研究发现,扎塘寺人物面相与当时卫藏所绘均不相同,具有明确的独特性。文章系统地整理11世纪卫藏绘画遗存中不同类型的“波罗面相”版本,也对8-12世纪青藏高原系统吐蕃绘画不同系列的发展脉络给予梳理,重点探讨了扎塘寺壁画人物“长目型”“波罗面相”的艺术渊源。The artistic remains of 1lth century U-Tsang paintings are limited in number but exhibit a diverse and complex appearance.According to the facial features of figures in murals and thangkas,the predominant style was that of Eastern Indian Pala art,which had entered U-Tsang at the time.Previous research has also suggested that the facial features of figures in the late llth century Drathang Monastery murals followed this style.However,new research reveals that the facial features of figures in the Drathang Monastery murals differ distinctly from those depicted in other contemporary U-Tsang paintings,showing clear uniqueness.This article systematically organizes different versions of the"Pala Style Faces"found in 1lth century U-Tsang painting remains and traces the development of various series of Tibetan painting on the Qinghai-Tibet Plateau from the 8th to the 12th centuries.It focuses particularly on the artistic origins of the"long-eyed type"and"Pala Style Faces"in the Drathang Monastery murals.

关 键 词：11世纪卫藏 波罗面相 扎塘寺壁画 长目型 凹凸法 敦煌石窟艺术 

分 类 号：K879.41[历史地理—考古学及博物馆学]