迪庆藏族唐卡造型艺术研究
摘要
唐卡是源自松赞干布时期一种古老的艺术样式,“唐”藏语意为平窄开阔卷,“卡”藏语意为佛龛,用彩缎织物装裱而成的卷轴画叫唐卡,也即平面布置的佛龛。它是用二维造型手段将所绘佛像浓缩在一个平面内,开启的是供养者多维的心境,其礼佛观想意义重于审美效果,与随身携带的微型精巧佛龛“喀乌”有着同样的精神作用,也被喻为可以牵动的寺院。
藏族唐卡在当今社会一定程度范围内产生着巨大的影响,不但在藏区信徒中间广为传播,并且伴随着藏传佛教传播足迹的不断延伸,进入了祖国内地,成为各族人民所喜爱的中国少数民族艺术品,甚至国外许多地区也陆续兴起了热衷于研究唐卡以及藏族文化艺术的个人及团体,许多唐卡艺术精品也随之进入了国内外大小博物馆以及热衷藏族文化艺术的私人收藏家手里,带动着唐卡收藏市场不断升温。究竟是一股什么样的神奇力量使得藏族唐卡艺术在如此多的人群之中传播开来,并被广泛关注和接受,传播过程中的交融、演进、模糊、变异又会对唐卡艺术造成什么样的影响?本文通过深入云南迪庆藏区进行实地调研和大量阅读文献资料,来研究迪庆藏族唐卡造型艺术。首先从藏族唐卡的含义及功用、传统文化符号的集合、依附教派进行专业创作、工笔重彩画的神秘化、藏族唐卡的艺术文化内涵几个方面,来论述有关藏族唐卡的艺术特点,其中所依托的藏族传统文化、佛教文化和绘画艺术是理解藏族唐卡艺术的基础,要准确释读唐卡必先积淀这三方面基础的知识。其次文章将藏族唐卡视为一种媒介,提出了唐卡绘画表现手法中媒介感知的概念,从藏族唐卡的构图、造型、设色、工艺流程与制作礼仪等几个方面来论述藏族唐卡的绘制技艺。最后文章将藏族唐卡艺术纳入艺术传播过程的语境中进行研究,从唐卡艺术在传播中的演进和传播对唐卡艺术的影响两方面,论述了藏族唐卡传统的传播和新形式下的传播,诠释了藏族唐卡艺术与藏族唐卡艺术传播之间的双向关系。
本文通过对迪庆藏族唐卡造型艺术的研究,可以更好的继承和发扬唐卡本身所具有的艺术价值,同时可以关注到藏族唐卡艺术在传播过程中的交融、演进、模糊、变异以及艺术传播对唐卡的影响,为藏族唐卡,尤其是云南迪庆藏区的唐卡这一非物质文化遗产能达到有效传播和可持续性发展的目的,尽抛砖引玉之薄力。
Thang-ga originates from an ancient art style in the Songzain Gambo period. "Thang" in Tibetan means flat narrow open volume, "ga" means shrines. The scroll painting mounted with color fabric is called Thang-ga painting. Thang-ga could be considered as a flat shrine, which tries to achieve the multi-dimensional mind in the two-dimensional perspective, and provides more mediation effect than the aesthetic function. It is because it has the same spirit role with the portable mini shrine "Kawu" that Thang-ga is also called "portable temple". Originated from Tibetan Buddhism culture, Thang-ga is the miniature and window of the Tibetan culture, art and religion.
Tibetan Thang-ga has generated a huge impact in today's modern society. Not only inherited among Tibetan believers, it also goes to mainland China and becomes the favorite minority folk art as the spread of Tibetan Buddhism. In many regions abroad, individuals and even groups have spung up to study Thang-ga and Tibetan culture art. A lot of Thang-ga works have been collected by major domestic and foreign museums, as well as the private collectors who are in the obsession with Tibetan culture and art. Thang-ga collect market continues to heat up. What kind of a force is it that makes Tibetan Thang-ga art spread among the crowd, and receive the widespread concern and acceptance? During the spread period, what kind of effect will be brought to Thang-ga art by integration, evolution, distortion, variation? Though the in-depth research in Diqing Tibetan areas of Yunnan province and reading a large number of literatures, this paper studies the art of Tibetan Thang-ga art and its dissemination. Firstly this work will discuss the Thang-ga features through the following aspects:functions and meanings, collection of the tradition cultural symbols, professional invention relying on sects, mystification of color painting, and the connotations of Thang-ga art. Traditional Tibetan culture, Buddhism culture and the art of painting are basis to understand Tibetan Thang-ga art. To accurately interpret Thang-ga, it is necessary to accumulate knowledge of these three areas. Secondly, this article will consider Thang-ga as a medium, present a definition of media perception in Thang-ga painting techniques, and describe the drawing skills from the Tibetan Thang-ga layout, shape, colors, process, and several other aspects. Finally, this paper will discuss Thang-ga's spread form in both tradition and modern ways, focusing on two aspects:the evolution during spreading and the spread's influence on the Thang-ga art. The study of Thang-ga art will be performed in the environment of art spreading process, which could achieve a better interpretation of the relationship between Thang-ga art and its spreading.
Through the study of Tibetan Thang-ga art and its spread, we could make a better inheriting and carrying forward the great art value of Thang-ga. This paper also contribute to arouse the concern about the integration, evolution, distortion and variation of Thang-ga art during spreading and its influence on the Thang-ga, aiming at helping Thang-ga art, In particular, of Diqing Tibetan in Yunnan one of the intangible cultural heritages, achieve effective spread and the sustainable development.
藏族唐卡在当今社会一定程度范围内产生着巨大的影响,不但在藏区信徒中间广为传播,并且伴随着藏传佛教传播足迹的不断延伸,进入了祖国内地,成为各族人民所喜爱的中国少数民族艺术品,甚至国外许多地区也陆续兴起了热衷于研究唐卡以及藏族文化艺术的个人及团体,许多唐卡艺术精品也随之进入了国内外大小博物馆以及热衷藏族文化艺术的私人收藏家手里,带动着唐卡收藏市场不断升温。究竟是一股什么样的神奇力量使得藏族唐卡艺术在如此多的人群之中传播开来,并被广泛关注和接受,传播过程中的交融、演进、模糊、变异又会对唐卡艺术造成什么样的影响?本文通过深入云南迪庆藏区进行实地调研和大量阅读文献资料,来研究迪庆藏族唐卡造型艺术。首先从藏族唐卡的含义及功用、传统文化符号的集合、依附教派进行专业创作、工笔重彩画的神秘化、藏族唐卡的艺术文化内涵几个方面,来论述有关藏族唐卡的艺术特点,其中所依托的藏族传统文化、佛教文化和绘画艺术是理解藏族唐卡艺术的基础,要准确释读唐卡必先积淀这三方面基础的知识。其次文章将藏族唐卡视为一种媒介,提出了唐卡绘画表现手法中媒介感知的概念,从藏族唐卡的构图、造型、设色、工艺流程与制作礼仪等几个方面来论述藏族唐卡的绘制技艺。最后文章将藏族唐卡艺术纳入艺术传播过程的语境中进行研究,从唐卡艺术在传播中的演进和传播对唐卡艺术的影响两方面,论述了藏族唐卡传统的传播和新形式下的传播,诠释了藏族唐卡艺术与藏族唐卡艺术传播之间的双向关系。
本文通过对迪庆藏族唐卡造型艺术的研究,可以更好的继承和发扬唐卡本身所具有的艺术价值,同时可以关注到藏族唐卡艺术在传播过程中的交融、演进、模糊、变异以及艺术传播对唐卡的影响,为藏族唐卡,尤其是云南迪庆藏区的唐卡这一非物质文化遗产能达到有效传播和可持续性发展的目的,尽抛砖引玉之薄力。
Thang-ga originates from an ancient art style in the Songzain Gambo period. "Thang" in Tibetan means flat narrow open volume, "ga" means shrines. The scroll painting mounted with color fabric is called Thang-ga painting. Thang-ga could be considered as a flat shrine, which tries to achieve the multi-dimensional mind in the two-dimensional perspective, and provides more mediation effect than the aesthetic function. It is because it has the same spirit role with the portable mini shrine "Kawu" that Thang-ga is also called "portable temple". Originated from Tibetan Buddhism culture, Thang-ga is the miniature and window of the Tibetan culture, art and religion.
Tibetan Thang-ga has generated a huge impact in today's modern society. Not only inherited among Tibetan believers, it also goes to mainland China and becomes the favorite minority folk art as the spread of Tibetan Buddhism. In many regions abroad, individuals and even groups have spung up to study Thang-ga and Tibetan culture art. A lot of Thang-ga works have been collected by major domestic and foreign museums, as well as the private collectors who are in the obsession with Tibetan culture and art. Thang-ga collect market continues to heat up. What kind of a force is it that makes Tibetan Thang-ga art spread among the crowd, and receive the widespread concern and acceptance? During the spread period, what kind of effect will be brought to Thang-ga art by integration, evolution, distortion, variation? Though the in-depth research in Diqing Tibetan areas of Yunnan province and reading a large number of literatures, this paper studies the art of Tibetan Thang-ga art and its dissemination. Firstly this work will discuss the Thang-ga features through the following aspects:functions and meanings, collection of the tradition cultural symbols, professional invention relying on sects, mystification of color painting, and the connotations of Thang-ga art. Traditional Tibetan culture, Buddhism culture and the art of painting are basis to understand Tibetan Thang-ga art. To accurately interpret Thang-ga, it is necessary to accumulate knowledge of these three areas. Secondly, this article will consider Thang-ga as a medium, present a definition of media perception in Thang-ga painting techniques, and describe the drawing skills from the Tibetan Thang-ga layout, shape, colors, process, and several other aspects. Finally, this paper will discuss Thang-ga's spread form in both tradition and modern ways, focusing on two aspects:the evolution during spreading and the spread's influence on the Thang-ga art. The study of Thang-ga art will be performed in the environment of art spreading process, which could achieve a better interpretation of the relationship between Thang-ga art and its spreading.
Through the study of Tibetan Thang-ga art and its spread, we could make a better inheriting and carrying forward the great art value of Thang-ga. This paper also contribute to arouse the concern about the integration, evolution, distortion and variation of Thang-ga art during spreading and its influence on the Thang-ga, aiming at helping Thang-ga art, In particular, of Diqing Tibetan in Yunnan one of the intangible cultural heritages, achieve effective spread and the sustainable development.
引文
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