摘要
随着国家民族文化产业的推进,藏族唐卡向外传播的范围也随之扩延,从相对传统封闭的家庭和寺院的佛堂,日益频繁地流转到藏地以外的博物馆、艺术馆、展览馆等公共空间的展厅。空间的转换意味着,围绕"唐卡"这个视觉图像而形成的一整套观看机制,包括从观看空间、观看主体及其观看模式,乃至观看对象——唐卡其本身的内涵也都相应发生了不同程度的重构。
With the advancement of China’s ethnic culture industry, the range of Tibetan Tangka has been expanded abroad. Now, Tangka has gone out of the more traditional and closed families and temples to be frequently exhibited in the museums, art galleries and other public exhibition halls outside the Tibetan areas.The transformation of space means that, around Thangka the visual image, a complete viewing mechanism has been formed, which includes the viewing space, the viewing subject, the viewing mode and the viewing objects. The connotations of Thangka have thus been reconstructed.
作者
葛俊芳
GE Jun-fang(Center for studies of Ethnic Minorities in Northwest China, Lanzhou University;School of Joumalism and Communication, Lanzhou University, Lanzhou 730000, China)
出处
《兰州大学学报（社会科学版）》
CSSCI
北大核心
2018年第2期74-80,共7页
Journal of Lanzhou University（Social Sciences）
基金
教育部人文社会科学研究青年基金项目"圣物
媒介
艺术:藏族家庭佛堂图像的多重阐释"(14YJCZH034)
关键词
民族文化产业
藏族
唐卡
空间转换
观看机制
重构
ethnic culture industry
Tibetan nationality
Tangka
space transformation
viewing mechanism
reconstruction
