西藏扎塘寺壁画与敦煌艺术关系之再议

Re-Examining the Relationship between the Zhatang Temple Murals in Tibet and Dunhuang Art

本文是基于早年相关研究的一个重新思考与讨论。以往研究认为西藏山南地区11世纪末叶的扎塘寺壁画所呈现的波罗-中亚艺术风格,主要是南亚的波罗面相与吐蕃化了的服饰的一种组合,在艺术传承上应该是10-11世纪新进入的东印度波罗风格与原有的吐蕃王朝时期旧有传统(蕃式服饰)相互融合而致。新的研究表明,扎塘寺壁画人物图像的孤立性是因为即使它接收了11世纪卫藏新进入的波罗艺术样式,但其主体,无论是人物面相还是服饰主要都继承的是唐代吐蕃王朝时期的艺术脉络,并与吐蕃占领之下的敦煌石窟艺术有密切关系,从而证明即使是西藏地区在北宋年间仍能看到敦煌艺术或明或暗的影响,且远在边陲的卫藏地区仍与中国西部佛教艺术整体流变有着密切关联性。

Previous research has concluded that the"Pala-Central Asian"style of art in the Zhatang Temple murals,which were painted beginning at the end of the 11th century in the Hannan region in Tibet(also known as Lhoka),combined faces painted in the Pala style from South Asia with bodies painted in Tibetan dress.This line of research points to the artistic lineage of the region,which was a result of the mutual blending of the Pala style from East Asia and the traditions of the Tibetan kingdom-namely Tibetan clothing-from the 10th-llth century.However,new research results suggest that the figures in the Zhatang Temple murals exhibit a style that is unique in the illustrations at the site.Although these figures can be seen to have assimilated the Pala art style newly introduced into U-Tsang in the 1lth century,the illustrations in the central paintings mainly inherited the artistic style of the Tibetan Kingdom during the Tang dynasty,regardless of the rendering of their faces or costumes,which indicates that these murals are more closely associated with the art of the Dunhuang caves when they were under Tibetan occupation.This verifies that the influence of Dunhuang art remained present in Tibet during the Northern Song dynasty,and that the art of the outlying U-Tsang region was still closely related to the overall evolution of Buddhist art in western China.