元明汉藏艺术交融的视觉证据——西藏阿里三围地区的汉式龙凤艺术遗珍

The Han-Styled Artworks with Dragon and Phoenix Motif in mNgav ris of Ali as Visual Witnesses to Chinese Han-Tibetan Art Blending through the Yuan and Ming Dynasties

本文首次对西藏传统阿里三围地区十余处遗存中现存的大量汉式龙凤纹样进行梳理和归纳,并对其渊源、背景、传播途径和本土化特征加以分析。元明时期的龙凤纹样主要分布在古格王国中心地区的寺院和石窟,拉达克和贡塘王国也有少量遗存。涉及的艺术种类主要为壁画、建筑彩绘、经书插图、泥塑、擦擦和丝织品,其造型和样式组合丰富,体现出本土化特征。作者通过文本和风格比较发现,这些龙凤纹样大都源于内地,主要通过朝贡赏赐等途径传入西藏和阿里,是元代统一西藏后西藏地方与中央政府在政治、经济和文化等领域大规模频繁交往、交流和交融的视觉证据。

The Chinese Han-styled artworks with dragon and phoenix motif preserved in over ten historical sites in Ngari Sanai(mNgav ris)of Ali in Tibet are analyzed in origin,context,circulation and the localized features in the thesis.The Yuan-Ming artistic works with dragon and phoenix motif are usually found in the temples and caves located in the central Guge Kingdom with a few in Ladakh and Gungtang Kingdoms,which are shown mostly in mural,architecture,illustrated Buddhist classics,clay-sculpture,Tsatsa and silk fabrics with kinds of design and style including the forms of assemblage,and somewhat locally featured.It is studied in the thesis that these artworks with such a dragon-phoenix motif were sourced from the mainland as tributes and awards granted from the royal Court,which,therefore,play as visual witnesses to the local-central exchange,intercommunication and integration in politics,economy and culture after Tibet was unifed under the central government of the Yuan Dynasty.