文化交融历史背景下西藏绘画“东渐”探析--以勉萨画派为例  

Analysis on the“Eastward Spread”of Xizang Painting under the Historical Background of Cultural Blending--Taking the Mensar Painting Style as an Example

作　　者：夏吾端智 Xia Wu Duan Zhi

机构地区：[1]青海民族大学,青海西宁810007

出　　处：《青海民族大学学报（社会科学版）》2024年第4期75-81,共7页Journal of Qinghai Minzu University：Social Sciences

基　　金：国家社会科学基金艺术学项目“藏族绘画勉萨派风格史研究”(项目编号:18CF189)的阶段性研究成果。

摘　　要：西藏绘画历史悠久、画派众多,其中形成于17世纪的勉萨画派对西藏绘画艺术产生了广泛而深远的影响。随着中华各民族交往交流交融的深入发展,从18世纪开始,西藏绘画特别是勉萨画派在康巴、安多、内蒙古等地区以及清宫廷不断发展与创新,更是衍生出康区勉萨画派、安多勉萨画派、清宫勉萨画派、内蒙古勉萨画派等区域性支派。勉萨画派的“东渐”不仅是中华各民族文化交往交流交融的生动体现,也是维系各民族文化交融的媒介和纽带,而本地化发展则是其“东渐”成功的重要原因。Xizang painting has a long history and there are many painting styles,among which Mensar style,formed in the 17th century,has a wide and far-reaching impact on Xizang painting art.With the in-depth development of association,communication and exchanges among all ethnic groups in China,since the 18th century,Xizang painting,especially the Mensar painting style,has been constantly enriched and innovated in the Kham,Amdo,Qing Court,and Inner Mongolia,and has derived regional branches such as the Kham Mensar,Amdo Mensar,Qing court Mensar,and Inner Mongolia Mensar.The eastward spread of Mensar painting style is not only a vivid reflection of the cultural integration of various ethnic groups in China,but also a medium and link to maintain the cultural integration of various ethnic groups.Localized development is an important reason for the success of the“eastward spread”.

关 键 词：文化交融 背景 西藏 “东渐” 勉萨画派 

分 类 号：J229[艺术—美术]