西藏哲蚌寺措钦大殿二楼十六罗汉壁画初探——兼论与清宫同一题材唐卡之间的关系

The Sixteen-Arhat Fresco of Tshoms Chen Palace of Drepung Monastery and Its Relationship with The Qing Court Collected Thangka with The Same Theme

哲蚌寺协热拉康殿十六罗汉壁画是五世达赖喇嘛下令、由清初西藏官方艺术流派创作的重要遗珍之一,与清代宫廷作品关系密切,但迄今未能引起学术界的足够重视。本文根据壁画图像和题记,结合当时的历史文献,认为壁画为1654年哲蚌寺措钦大殿扩建时期的作品,由曼塘派和钦孜派的五位重要大师领衔,按五世达赖喇嘛及西藏地方政府之令创作而成。通过文献和图像比较可知,十六罗汉壁画不仅与钦孜画派明代重要遗珍的贡嘎寺壁画具有直接渊源关系,主要出自钦孜派画家之手,而且与故宫博物院现存清宫佛日楼同一题材的唐卡藏品在风格上有着密切的关系,系清代西藏地方与以宫廷为首的内地藏传佛教艺术之间大规模、频繁互动的重要例证之一。

The Sixteen-Arhat Frescos in zhal ras lha khang palace of Drepung Monastery was completed by the order of Dalai Lama V as among the treasures of art by the official art schools of Tibet in the early Qing period, so they are closely linked with the imperial works of the Qing Dynasty. The study of the images and inscriptions as well as the historical materials suggests that the frescos be created under the organization of five artists from the schools of sman thang pa(Mantang) and mkhyen brtse ba(Qinzi) who were officially commissioned by Dalai Lama V and the local government together with the completion of the expanded construction of Tshoms Chen palace of Drepung Monastery in 1654. The image of the sixteen-Arhat fresco looks in style close to those of Gongga temple by the art school of mkhyen brtse ba(Qinzi) and the Qing court Thangka with the same theme in the collection of the Palace Museum, so it reflects the wide and frequent exchanges and communication of the Buddhist art between the Tibetan area and the inland during the Qing era.