论文部分内容阅读
拉萨大昭寺和布达拉宫里著名的吐蕃赞普松赞干布及其随从的塑像一般被认为是属于7—9世纪的作品(约629—842年)。这种以藏文文献为依据的观点长期以来一直占据主流地位,并得到了现代一些中国和西方学者的支持,然而,基于历史学、考古学、图像学以及艺术风格等因素的分析,这种观点必须得到修正。现代藏学研究中广为谈论的图像学和历史学问题是:是否西藏早期的统治者在7—9世纪或稍晚的11—13世纪时已被看做是观音的化身。一般来说,人们对松赞干布的怀念与崇拜主要是由于他对于佛教的贡献,尤其是指他在西藏首次引入并传播了观音信仰崇拜。最早的松赞干布形象,如据说位于琼结藏王墓和桑耶寺的7—8世纪时的松赞干布塑像和一些11—13世纪时的唐卡中在边角处描绘的松赞干布小像,除此之外,在元代以前,没有出现过单独描绘或塑造的松赞干布形象。保存在布达拉宫、大昭寺和哲蚌寺的一些金属造像根据艺术风格分析应为14或15世纪的作品。第二组赞普塑像位于大昭寺(却坚吞米拉康Chosrgyal Thon mi Lha Khang,底楼,西侧),尚不谈其真实性存在着或多或少的疑问,将之与江孜白居寺(1418—1439年)的泥塑进行艺术风格上的对比,其年代可晚至15世纪上半叶。第三组塑像是最著名的松赞干布及其二妃像(位于却坚松赞拉康Chosrgyal Srong btsan Lha khang,二楼,西侧),但这只是一个现代的复制品,可能是与五世达赖喇嘛(1645年)的捐赠有关,很显然系由一身份不明的喇嘛东噶楚札(bLa ma mDung dKar’brug gras)于17世纪40年代创作。文献记载表明,当时为拉萨祖拉康(gTsug lag Khang)复制和重建了大量的作品。布达拉宫法王洞(却坚祖甫Chos rgyal sCrub phug)里最有名的赞普及其妃子、儿子和大相的形象传统上一直被认为是7世纪时的作品,但本文通过对诸多因素的分析,认为其显然是属于17世纪的创作。
The famous statue of Jomtso Songtsan Gamburi and its followers in the Jokhang Monastery and Potala Palace in Lhasa are generally considered to belong to the 7th-9th centuries (about 629-842). This view based on the Tibetan literature has long dominated the mainstream and has been supported by some modern Chinese and Western scholars. However, based on the analysis of history, archeology, imageology and artistic style, The point of view must be amended. The issues of imageology and history widely discussed in modern Tibetan studies are whether Tibet’s early rulers were seen as the embodiment of Guanyin in the 7th and 9th centuries or later in the 11th and 13th centuries. In general, the people’s memory and worship of Songtsan Gopche is mainly due to his contribution to Buddhism. In particular, he refers to the first introduction and dissemination of worship of the Guanyin religion in Tibet. The earliest images of Songtsan Gambo, such as the statue of Songtsan Ganbu at the 7th and 8th centuries of the Qiongzheng tomb and the Samye Monastery and some of the Thangka in the 11th and 13th centuries depicted at the corner In addition, there were no images of Songtsan Gambo depicted or shaped independently before the Yuan Dynasty. Some of the metal statues preserved in the Potala Palace, Jokhang Temple and Drepung Monastery should be fourteen or fifteenth-century works based on artistic style. The second group of Zappu statues is located at Jokhang Temple (Chosrgyal Thon mi Lha Khang, on the ground floor and on the west side). No doubt about its authenticity exists more or less doubt, The clay sculpture of the temple (1418-1439) is artistically contrasted, dating back to the first half of the 15th century. The third group is the most famous statue of Songtsan Gandhi and its second image (Chosrgyal Srong btsan Lha khang, second floor, west side), but this is only a modern copy and may be associated with The fifth Dalai Lama (1645) was donated, apparently by an unidentified Lama, Dongga Ch’ang Ch’ang (bLa ma mDung dKar’brug gras) in the 1740s. The literature shows that a large number of works were copied and rebuilt at that time for gTsug lag Khang. The most famous images of Zapp and its concubines, sons and great faces in the Potala Palace (but also Chos rgyal sCrub phug) have traditionally been considered works of the 7th century. However, Analysis, it is clear that it belongs to the 17th century creation.