18—19世纪河湟流域藏传佛教壁画艺术及其历史文化考——以合然寺壁画为例

Tibetan Buddhism Murals in Hehuang Basin in the 18th and 19th Centuries and Its Historical and Cultural Perspective:A Case Study on the Mural Paintings of Hor ran sgar

位于河湟流域的青海省循化县合然寺及其壁画是18世纪中叶格鲁派在甘青河湟流域全面发展阶段的产物,合然寺由隆务寺住持堪钦·格登嘉措于18世纪中叶创建,寺内保存大量勉唐风格壁画,为当时安多地区佛教造像绘画艺术家比塘·嘉木华丹嘉措的真迹,是他存世画作中唯一将整座佛殿壁画保留较完整的寺院壁画。这些壁画是18世纪以来盛行于河湟流域藏传佛教壁画艺术风格之缩影,是追溯藏族各画派在安多地区的发展脉络的依据,是格鲁派在河湟流域发展和传播历程的重要见证,还是研究地方社会历史文化弥足珍贵的图像资料。本文力图在考证合然寺建寺年代及创建者、合然寺壁画绘制年代及其绘制者、壁画内容的基础上,解读壁画分布空间及艺术特点,评析壁画的历史文化价值。

The Hor ran sgar and its mural paintings in Xunhua County,Qinghai Province,located in the Yellow River valley,are the products of the comprehensive development of the Gelug school in the middle of the 18th century in the basin of the Hehuang(Rma chu and Tsong chu)in Gansu and Qinghai Provinces.Hor ran sgar was founded in the middle of the 18th century by Mkhan chen Dge 'dun rgya mtsho(1679—1765),the abbot of Long bo Monastery,and a large number of mural paintings in the style of Sman thang were preserved in the temple,which were the works of Bis thang'Ja' mo dpal ldan rgya mtsho,the artist of Buddhist statue painting in Amdo at that time.The temple is the only place where his works remain in their complete form.These paintings are typical of the Tibetan Buddhist mural paintings that were widely spread in the Hehuang Basin after the 18th century.They are valuable materials for tracing the development of various schools of Tibetan paintings in the Amdo region and the development and spread of the Gelug school in the Hehuang Basin,even for studying the social history and culture of the region.This paper attempts to date the temples and their founders,to date the murals and their painters,and to prove the contents of the murals,and on this basis to interpret the artistic characteristics of the murals and to evaluate their historical and cultural value.