西藏夏鲁寺三门殿美术遗存的空间分布及其观念

Spatial Distribution and Concept of the Art Remainsof Sgo GsumMa Lha Khang of Zhalu Monastery Monastery in Tibet

夏鲁寺三门殿建于1290-1303年,殿内美术遗存丰富而精美,释迦佛金铜造像、四臂观音擦擦、五佛壁画、阿閦佛擦擦、介尊·喜饶琼乃壁画等作品,皆具有一定的典范性和独特性,尤其五佛壁画更是西藏美术及其风格演变过程中的重要代表。通过对殿内美术题材及其信仰在该建筑空间分布关系的梳理,可以认识到三门殿兼具家族纪念、禅定静观功能,诸多宗教信仰背后体现了从大乘佛教到金刚乘密教的思想演变,其图像配置的丰富与创新应该是13-14世纪藏传佛教神佛体系及其美术题材系统化过程的一个缩影和重要过渡。

The Sgogsum Ma Lha Khang of Zhalu Monastery was built around the year of 1290 to 1303.There are many art crafts and relics preserved there. These art works such as gold bronze statues of the Shakyamuni Buddha,Clay Buddha Sculptures of Four-armed Avalokitesvara Bodhisattva,murals of Five Buddhas,Clay Buddha Sculptures of Aksobhya and murals of lce btsun shes rab ‘byung gnas are the good examples of art exemplary and uniqueness. Murals of Five Buddhas are the important samples of the evolution of Tibet’s art style. Through the spatial location of art themes in the chapel,it can be found that Sgogsum Ma Lha Khang has the function of family commemoration and meditation. These art works also demonstrate the change of religious belief change from Mahayana to Vajrayana Buddhism,and show the systematization and transition of the system of Buddhist god in the 13th-14th century.