藏传佛教艺术中关于上师肖像的特征分析(上)  

About the Portraits of Tibetan Masters in Tibetan Buddhist Art

作　　者：简·卢克·埃斯图内 次仁(译) 汪洋(译) Jean-Luc Estournel;Tsering;Wang Yang

机构地区：[1]西藏大学艺术学院

出　　处：《西藏艺术研究》2024年第3期78-89,共12页Tibetan Art Studies

摘　　要：上师像不仅是藏传佛教绘塑艺术中最具民族特色的题材,同时它蕴含着丰富的宗教信仰义理。研究藏传佛教艺术中的上师像,不仅能理解到藏族艺术本身,还能了解到藏传佛教艺术与藏族人文之间的关系。本文作者简·卢克·埃斯图内通过例举大量图像和文献资料,探索藏传佛教上师像中是否存在坎肩左衽表示上师圆寂后的造像,而坎肩右衽则代表上师在世时所塑造的这一艺术准则,以及这一艺术准则背后的历史演变与衰落因素等问题。因此,翻译本文的初衷是为了使读者更好的了解藏传佛教艺术表象背后的深层文化内涵,开拓读者看待上师像的新启发与新视角。The statue is the most nationally distinctive subject in Tibetan painting and sculpture art and is rich in religious beliefs and doctrines.Therefore,the study of Tibetan Buddhist masters'statues cannot be only understood as Tibetan art itself but also as the connection between Tibetan Buddhist art and Tibetan humanity.The author of this paper,Jean-Luc Estournel,explores the question of whether there is an artistic norm in Tibetan Buddhist masters'statues in which the Tögag folded under the left arm to indicate the portraits made after the death of the master and the Tögag folded under the right arm to indicate the portraits made during the master's lifetime.The author discusses the factors behind this artistic norm's historical evolution and decline using extensive examples from images and documentary sources.Therefore,the original purpose of translating this article is to enable readers to understand better the deeper cultural connotations behind the appearance of Tibetan Buddhist art,expand perspectives,and stimulate new inspirations for readers to look at the statues of the masters.

关 键 词：上师像 坎肩 左衽 右衽 

分 类 号：J51[艺术—艺术设计]