布达拉宫与齐吾岗巴画派研究中几个问题的补考

Some Thoughts on the Links between the Potala Palace and the Chi’u Style

本文通过对布达拉宫馆藏文献、唐卡、壁画中与齐吾岗巴画派相关资料信息的梳理,文本与图像的对比,为齐吾岗巴画派的相关研究提供了丰富的资料和证据。17世纪,《五世达赖喇嘛传记》中绘制布达拉宫“甘珠尔殿”壁画时挑选一幅“齐吾画”作为范本的记载,第司.桑结嘉措文集中亦有相关记载;18世纪,《布达拉宫立体坛城殿堂志》中出现“珠古齐吾”的名号;最近布达拉宫馆藏大译师强秋孜穆(1303-1380年)唐卡又引起学术界热议,这些都为齐吾岗巴画派的研究提供了重要参考,深化了关于齐吾岗巴画派的认识。

This study of the Chi’u painting style mainly uses the following leads as references: the Kagyur Lhakang murals of the Potala Palace which are described in the fifth Dalai Lama’s autobiography;the documentation of "Chi’u" in Sde srid Sangs rgyas rgya mtsho’s writings;the term "Chi’u Gangpa" written in the Records of the Potala Palace’s Mandala Chapel(gsang bde ’jigs gsum gyi blos bslangs mthong ba don ldan gyir ten deb lam mchog gsal ston bzhugs), and the thangka painting of the great translator Byang chub rtse mo(1303-1380). By examining these documents from various periods and the paintings mentioned in the preceding text, this article aims at clarifying the problematics of using these sources as solid and secure references.