在喜马拉雅雨影下:穆斯塘土钦寺的绘画风格及其与古格艺术的关联

Under the Himalayan Rain-shadow:The Painting Style of Thub chen Lha khang in Mustang and its Guge Connection

在西藏艺术史的发展进程中,15世纪被认为是承先启后的时期。这一时期的艺术作品中所表现出的美学概念,除了反映藏地与其周边文化圈持续不断的交流外,更重要的是藏地的艺术家们在吸纳各种不同来源的艺术元素后在藏地各区域开始兴起了各种本土的美学风格。这些风格除了彰显当时一定区域内的审美风尚外,供养人与工匠们也以艺术表现来阐述他们心中的特定意识。15世纪绘于喀利根德格河谷上游穆斯塘王国的王家供养寺庙的壁画即反映了这种趋势。本文中探讨的位于穆斯塘首都洛曼塘的土钦寺及其壁画即为此时期的一处重要遗址。建于15世纪下半叶的土钦寺作为穆斯塘王国的代表性宗教建筑,其所保存的壁画彰显了穆斯塘王国曾有的繁荣与辉煌的艺术成就。然而土钦寺壁画所表现出的艺术风格,显然与稍早同样位于洛曼塘的另一处王家寺院强巴寺的壁画,以及穆斯塘地区其他更早的遗址,有着迥然不同的表现。本文将对该寺的壁画风格进行基本分析,并透过比对土钦寺壁画与其西邻的古格王国壁画,探求当时穆斯塘王国与古格王国之间可能存在的一种共同艺术风尚。借着分析此二遗址壁画风格所表现出来的相似与相异处,本文认为,隐藏于绘画的视觉表现之下,艺术作品作为一种媒介表达出供养人与绘画制作人的主观意念,反映了特定地域在特定时空下的文化与政治脉络,而这种主观的选择最终影响了土钦寺壁画与古格艺术间的差异。

The fifteenth century murals of the Kingdom of Mustang reflect the complexity and diversity of the broad Tibetan artistic sphere of that century. The variety of artistic production reveals the interactions of various cultures and their aesthetic idioms, and the explosion of indigenous development in upper Kali-Gandaki Valley. This article focuses on one of the most important monuments, the Thub chen Lha khang of Lo Manthang, a royal commission of the late fifteenth century, seeking to analyze the artistic style represented therein. The murals within this monastery are respective of the heyday of Kingdom of Mustang, revealing, however, a considerably different visual manifestation by comparison with that of their neighbor, Byams pa Lha khang, decades earlier, and other much earlier temples of Lo. This article aims to shed light on the distinctive artistic features found within the Thub chen Lha khang and then indicate the artistic connection between this monument and the contemporary Guge art to the west. Through stylistic analysis of chosen cases, this article intends to illustrate the characteristics of art particular to these two regions in the late fifteenth century. Additionally, it attempts to show how the art there was shaped and connected from a regional perspective;the information which lies beneath the visual appearance of the murals from both locations, which led to similarities and disparities in their manifestation;how this reflects the cultural-political context of each kingdom.