【作者】 金萍；

【导师】 杨休；

【作者基本信息】 西安美术学院 ， 美术学， 2012， 博士

【摘要】 位于青海西宁乐都的藏传佛教寺院瞿昙寺，处在汉藏交流的前沿。始建于明初，正是元明交替的特殊时期。由朱元璋亲自题匾，宫廷机构参与建设，表明支持兴建瞿昙寺是明初中央政权对藏政策形成期的一个标志性事件。瞿昙寺壁画配合整体建筑的汉式皇家风格，完整地展示了中国传统绘画艺术的魅力。本文针对青海乐都瞿昙寺壁画的形成原因与分期，进行历史背景和艺术考古分析的深度解读，认为其代表性的回廊壁画具有鲜明的明初院画风格，并与当时刚兴起的主流画派浙派有着直接联系。而瞿昙寺三大殿壁画传承藏地风格的部分，与古格为代表的藏西地区也有联系，可能揭示了藏东地区和藏西地区超越卫藏的特殊关系。运用文化传播学的研究方法，将瞿昙寺回廊壁画放在西藏绘画史的大背景中进行分析，可以看到其对西藏绘画的巨大影响。瞿昙寺回廊壁画是藏传佛教绘画风格总体上向东转变的起点，它所代表的中国传统绘画,改变了藏传佛教绘画的走向，影响了西藏本土画派的形成，促进了西藏绘画的近代转型，使得西藏绘画在保存自身民族特色和印度尼泊尔风格影响的基础上，与内地绘画更趋接近，最终形成了新勉唐画派的标准格局。通过多方面分析，本文认为：以往多数研究者只是对瞿昙寺壁画的艺术图像进行了内容辨识，而没能深入的分析艺术风格的变化和成因。笔者认为，瞿昙寺回廊壁画自身地域文化特征的隐现以及与中原文化紧密的关联性是值得探讨的，它还与邻近的甘肃永登妙音寺、感恩寺壁画艺术风格休戚相关。同时该寺清代补绘部分壁画在人物造型和装饰方面受到了本地区热贡艺术的影响。更多还原

【Abstract】 Qutan Monastery, the Tibetan Buddhism temple, located in Ledu, Xining, QinghaiProvince, leads the art exchange of the Sino-Tibetan Buddhist. It was built in Early MingDynasty, which during the special period of time between Yuan Dynasty and Ming Dynasty.Named by Emperor Zhu Yuanzhang himself, participated the construction by the imperialinstitution, it showed that support of building the Qutan Monastery was the landmark event ofthe policy developed from the Early Ming central power towards Tibet. Coordinated with theChinese imperial style, Qutan Monastery murals perfectly displayed the charm of the Chinesetraditional art of painting.This article, with the profound interpretation of the history background and art characterof the Qinghai Ledu Qutan Monastery murals formation reasons and stages, indicates that it’srepresentative ambulatory murals showed the distinct Early Ming Dynasty imperial art style,directly associated with the new main current style Zhe Style at that time as well. However,the element inherited the Tibet region style showed in Qutan Monastery murals of the threemain palace, also connected with Western Tibet region who represents the Guge Style. It mayrevealed the peculiar connection of Eastern Tibet and Western Tibet, exceeded the CentralTibet. With the method of culture communication studies, analyzing the Qutan Monasteryambulatory murals among the background of Tibet history of painting, it indicates its greatinfluence on the Tibet painting. Qutan Monastery ambulatory murals was the start point thatthe Tibetan Buddhism Painting style changed towards the east, representing Chinesetraditional painting, changed the direction of Tibetan Buddhism Painting, influenced theformation of Tibet native painting style, promoted the modern transition of the Tibet art ofpainting, therefore, the Tibet art of painting got to approach the inland painting more,eventually formed the standard structure of the New Menri Style, with the foundation of it’sown native character and the influence of the art of India and Nepal.Through multi-analysis, this article indicates, that formerly most of researchers onlystudied the content of the pictures of the Qutan Monastery murals, didn’t profoundly analyzedits transition and formation cause of the art style. It is worth to discuss the tight relationsbetween Qutan Monastery murals’ native region culture character and Central China’s Culture,in addition, it associated with the adjacent Gansu Yongdeng Miaoyin Temple, GanenTemple mural art style too, meanwhile, its figure sculpture and decoration in the partialmurals replenished in Qing Dynasty influenced by its native Regong art.更多还原