【作者】 张斌宁；

【导师】 李葆竹；

【作者基本信息】 西北师范大学 ， 美术学， 2004， 硕士

【摘要】 唐卡是藏民族最具代表性的民间宗教艺术形式，它长期以来广泛流传于藏域的各个地区，并且深受藏族同胞的喜爱与推崇。藏民族宗教文化的各个细节在唐卡画中都有所体现，可以毫不夸张地说，唐卡艺术在某种程度上已经成为了藏族宗教文化的独特标志。 全文共分为六章。其中前三章分别就唐卡艺术的渊源、唐卡的基本概况及其身语意度量、典型符号及相应的功能指义等作以客观描述。这三章着重在于客观描述而较少论述，目的是要使读者形成一个有关唐卡这种艺术形式本身的相对明晰的概念；第四章和第五章分别从唐卡画的创造主体、画诀理论及其典型的艺术特色给予了分析。这一部分被确立成全文的重点，期望读者能够在前期基本印象的基础上达到一个更深层次的理解与认识，并从而完成本文的初衷。第六章简要地阐述了一下唐卡艺术目前的状况及其与当代艺术之关照。更多还原

【Abstract】 Thangka is the most representative form of Tibetan religious folk art which is widespread in every area of Zang nationality. It is cherished and esteemed by Zang compatriots. Every detail of the Tibetan religious culture is embodied in it. It’s not exaggerating to say Thangka Art has already been a unique symbol of Zang religious culture.Full text contains 6 chapters. The first 3 mainly dwell on the origin of Thangka, its general situation, some rules we must follow when painting, typical symbols and corresponding functions and meanings. These 3 chapters put emphasis on objective description rather than discussion with the aim of making the readers form a relatively clear concept of this art form itself-Thangka Art. The 4th and 5th chapters analyze the creative subject, the theories of painting essentials and its typical artistic characteristics respectively. This part is identified with the focal point. It is expected that the readers can reach a higher level of understanding based on the basic impression at earlier stage so that the original intention of this article can be achieved. The 6th chapter makes a brief exposition of the current situation of Thangka , its comparison to modern art and the mutual influence between them.更多还原