【摘要】：14世紀(jì)至17世紀(jì)是藏傳佛教繪畫發(fā)展的轉(zhuǎn)型時(shí)期,本土畫師開始專注本民族藝術(shù)的創(chuàng)作和思考,繪畫風(fēng)格逐漸擺脫外來的程式而趨向本土化演變。夏魯一江孜風(fēng)格正是處于本土化演變的關(guān)鍵時(shí)期,具有承上啟下的重要意義。夏魯寺和白居寺壁畫同為夏魯一江孜風(fēng)格的代表,二者在藝術(shù)風(fēng)格上既有區(qū)別又有聯(lián)系,本文根據(jù)歷史文獻(xiàn)和圖片資料,將兩寺壁畫藝術(shù)風(fēng)格的異同點(diǎn)進(jìn)行比較研究。
[Abstract]:From the 14th century to the 17th century, the development of Tibetan Buddhism painting was a transitional period. The local painters began to focus on the creation and thinking of their own national art. Xialu-Jiangzi style is in the key period of localization evolution, which is of great significance. The frescoes of Xialu Temple and Baiju Temple are both representatives of Xialu-Jiangzi style. There are differences and connections in their artistic styles. According to historical documents and pictures, this paper makes a comparative study on the similarities and differences of the artistic styles of the murals of the two monasteries.
【作者單位】： 陜西師范大學(xué)美術(shù)學(xué)院;
【基金】：陜西師范大學(xué)研究生創(chuàng)新基金資助項(xiàng)目《藏傳壁畫與祭壇畫比較研究》研究成果(項(xiàng)目編號:2015CXS018)
【分類號】：J218.6

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