藏传佛教艺术中关于上师肖像的特征分析(下)  

About the Portraits of Tibetan Masters in Tibetan Buddhist Art(Part Ⅱ)

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

机构地区：[1]不详 [2]西藏大学艺术学院

出　　处：《西藏艺术研究》2024年第4期65-78,共14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向左折叠表示上师圆寂后的造像,而坎肩交领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 first half of the 20th century holds a very special significance in the history of Tibetan opera development.Firstly,the professional theater troupe,sKyor mo lung pa,rose to prominence,achieving unprecedented development and maturity in both repertoire creation and performance skills.Secondly,Tibetan opera became the mainstream during the Shoton Festival,exerting an unprecedented influence.Thirdly,various Tibetan communities outside Xizang formed unique styles of Tibetan opera performances.Fourthly,Tibetan opera began to absorb and draw from the performance forms of surrounding ethnic groups and regions,continuing to enrich and develop the art of Tibetan opera.During this period,there emerged a phenomenon of multi-ethnic participation in the traditional practices of Tibetan opera,as well as the application of multi-ethnic cultures in its creation.This article aims to explore the historical interactions,exchanges,and integrations presented by opera as a cultural medium,and the practical significance in consolidating the strong sense of ethnic unity for the Chinese nation.

关 键 词：上师像 坎肩 左衽 右衽 

分 类 号：J51[艺术—艺术设计]