摘要
西藏地区的夏鲁寺与贡嘎曲德寺壁画中均出现了以金乌、玉兔代表日与月的图像。金乌与玉兔图像是中原文化用来表示日与月的固定图式。自汉朝时期由西王母神话与民间信仰不断糅合产生,唐代时被吸收进佛教图像体系中,后期随着藏传佛教的兴盛与文化交流的频繁,藏传佛教绘画吸收了这种日月图像母题。西藏壁画艺术中的日月图像,不仅更新了藏传佛教艺术的表达范式,而且图像意义也突破了单纯宗教艺术的阐释,凸显了中央皇权的在场。夏鲁寺与贡嘎曲德寺壁画中的日月图像是汉藏文化交往交流交融的结果,彰显了元明时期各民族之间的频繁互动,以及多元文化交流下文化符号互融互生的整体性社会结构。
In the murals of Shalu Monastery and Gongkar Cho Monastery,there are images of the sun and moon represented by a golden crow and jade rabbit respectively.The images of the golden crow and jade rabbit are a fixed schema used to represent the sun and the moon in Central Plains culture.Since the Han Dynasty,the myth of Queen Mother of the West and folk beliefs have been continuously mixed,and it was absorbed into the Buddhist image system in the Tang Dynasty.With the prosperity of Tibetan Buddhism and the frequent cultural exchanges in the later period,the Tibetan Buddhist paintings absorbed this image motif of the sun and moon.The Han-style sun and moon images in Tibetan murals not only renew the expression paradigm of Tibetan Buddhist art,but also break through the interpretation of simple religious art and highlight the presence of central imperial power.The sun and moon images of Shalu Monastery and Gongkar Cho Monastery are the result of the exchanges,interaction and integration of Han-Tibetan culture,highlighting the power of frequent interaction among various ethnic groups in the Yuan and Ming dynasties,as well as the overall social structure of mutual integration and coexistence of cultural symbols under the multicultural communication.
作者
吕岩
岳燕
张会庆
Lyu Yan;Yue Yan;Zhang Huiqing(School of Chinese Language and Literature,Xizang Minzu University,Xianyang 712082,China;School of Education,Xizang Minzu University,Xianyang 712082,China)
出处
《西北民族大学学报（哲学社会科学版）》
2024年第3期156-165,共10页
Journal of Northwest Minzu University(Philosophy and Social Sciences)
基金
国家社会科学基金项目“文化交融视域下西藏吉祥图案整理与阐释研究”(项目编号:22BMZ103)。
关键词
日月图像
文化符号
互融互生
交往交流交融
the sun and moon images
cultural symbols
mutual integration and coexistence
exchanges,interaction and integration
