藏传佛教绘画的发展阶段划分——以史前时期到割据时期唐卡为例

The Development Stage of Tibetan Buddhist Painting——Take the Thangka from Pre-history to Era of Fragmentation as an Example

藏传佛教绘画源远流长,唐卡更是一种具有鲜明民族特色的艺术媒介,不仅成为藏族绘画的重要载体,而且对藏族宗教信仰产生重要影响。藏族史前时期的陶纹与岩画的线条及色彩为唐卡的形成铺垫了基石,故称其为唐卡的孕育期。吐蕃时期,唐卡正式诞生,而且有了初步的规模,可称为唐卡的雏形期。割据时期,西藏从周边地区引进了不同的绘画风格,唐卡作品数量明显增多,画家作画水平显著提升,肖像画得到了快速发展,装裱成为唐卡的鲜艳标志,且出现了唐卡创作的小高潮,所以这时期是唐卡的发展期。

Tibetan Buddhist painting has a long history, and Thangka is an artistic medium with distinct ethnic characteristics. It not only becomes an important carrier of Tibetan painting, but also has a significantimpact on Tibetan religious beliefs. The lines and colors of pottery and rock paintings in Tibetan Pre-historic Period laid the foundation for the formation of Thangka, so it is the gestation period of Thangka. During the Tubo Period, Thangka was formally born, and had a preliminary scale, being the embryonic stage of Thangka. During the Era of Fragmentation, Tibetansabsorbed different painting styles from neighboring places, the number of Thangka works increased significantly, the painting level of painters improved at a great deal, portrait Thangka developed rapidly, mounting became the bright symbol of Thangka, and there was a small climax of Thangka creation, so this period is the development period of Thangka.