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| 程式與新風——17至19世紀藏傳佛教繪畫風格的演變=Approaches and New Styles——Evolvement of Tibetan Buddhism Drawing Styles from 17th to 19th Century | ||
| 作者 | 伯果 (著)=BAI Guo (au.) |
|---|---|
| 出處題名 | 青海民族研究=Nationalities Research in Qinghai |
| 卷期 | n.3 |
| 出版日期 | 2013 |
| 頁次 | 97 - 99 |
| 出版者 | 青海民族大學民族研究所 |
| 出版地 | 青海, 中國 [Qinghai, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 附註項 | 作者單位=青海民族大學 |
| 關鍵詞 | 藏傳佛教繪畫=Tibetan Buddhism Drawing; 新曼塘派=New Mantang School; 新噶赤派= New Gechi School; 風格=Style |
| 摘要 | 17至19世紀是藏傳佛教繪畫的大發展時期,隨著格魯派在全藏區取得政教領袖地位,格魯派寺院建設熱潮空前高漲,大規模的寺院興建和擴建給藏傳佛教繪塑藝術帶來了廣闊的發展空間,藏傳佛教繪畫藝術由此進入一個全面繁興的發展階段。一時大師輩出,畫風迥異,他們在前代畫派風格的基礎上推陳出新,將藏傳佛教繪畫演繹到了一個新的發展高度。本文對當時流行的繪畫流派及其代表藝術家進行了分析,從而大致梳理出17至19世紀藏傳佛教繪畫風格的演變軌跡。 The Tibetan Buddhism drawing developed greatly during 17th and 19th century. With the gaining of leading political and religious power position of Gelu faction in the whole Tibetan area, the building for Gelu faction monasteries was zealous which brought great developing space for Tibetan Buddhism drawing, and it was ushered into a completely thriving period ,a number of outstanding masters, who had totally different drawing styles from each other, appeared as a result. They created new works on the base of formers and promoted Tibetan Buddhism to a new level .The paper made an analysis about some representative masters and drawing schools of the time to get a brief evolving orbit from 17th to 19th century. |
| 目次 | 一 、新曼塘派 97 二 、新噶赤派 98 三、混合型風格 98 （一） 熱貢 藝術流派的形成 98 （二） 清代宮廷唐卡 99 |
| ISSN | 10055681 |
| DOI | 10.15899/j .cnki .1005 -5681.2013.03.008 |
| 點閱次數 | 128 |
| 建檔日期 | 2023.08.16 |
| 更新日期 | 2023.08.17 |
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