西藏壁画

　　西藏壁画源远流长，在历史的长河中，经过历代画师的不断实践和锤炼，学习吸收国外绘画的长处，融汇贯通，使其具有独特的民族风格，五彩纷呈的艺术形式，丰富广泛的表现内容。如有历史掌故、人物传奇、民间传说、藏医图解、星算占卜、宗教神话等内容，是西藏传统文化艺术百花园中的一枝奇葩，也是世界绘画艺术宝库中的一颗瑰宝。

Tibetan murals have a very long history, and in the long rivers of history, through the constant practice and hammering of generations of painters, they learn to absorb the strengths of foreign drawings, to integrate them into one another, to give them a unique national style, varied forms of art, and to enrich a wide range of expressions. Where history is known, legends of characters, folk legends, Tibetan medical drawings, star count, religious myths, etc., is a wonder in the hundred gardens of traditional Tibetan cultural art and a treasure in the world's art treasures.

　　壁画（ldebs—ris）是一种非常普遍的绘画形式，因画在大墙上，所以叫“壁画”，描绘的主要是宗教题材，描绘神灵和其他一些精灵、宗教故事等等。寺院、庙宇、宫殿、私人住宅、工棚、驿站以及各类客店都可以看到壁画，有时也在户外画壁画，寺院殿堂的天花板更是经常画壁画的地方，偶尔也画在经堂的梁柱之上。

The murals (ldebs-ris) are a very common form of drawing, called murals, because they are painted on walls, and they are essentially religious subjects, drawing spirits and other elves, religious stories, etc. Monasters, temples, palaces, private houses, sheds, stands, and hotels can see murals, sometimes outdoors, and the ceilings of temples are often painted in places where murals are often painted, and occasionally above the pillars of the halls.

阿里地区古格王朝遗址壁画：多臂度母菩萨

　　在西藏的宫殿、寺院以及藏族居家、庄园的经堂里，都有绘制壁画的传统和悬挂唐嘎的习惯。那些著名古代建筑，可谓座座绘画艺术博物馆。古代画师们创造出许多具有史料价值和艺术价值的壮观画卷，其数量之多，非常惊人。大昭寺的壁画面积达4400平方米，如果把它变成一米宽的彩带，可以环绕八角街五圈多。各大寺庙中，都藏有相当数量的唐嘎。布达拉宫的二幅大唐嘎长达五十余米。为了存放这二幅大唐嘎，布达拉宫赛佛台脚下，还专门建造了一幢340平方米的二层楼房作库房。每年藏历二月三十日拉萨要举行赛宝法会，哲蚌寺庙的几千喇嘛身穿佛衣，手持各种珍贵乐器、祭器、旗帐幡等物，自大昭寺出发，过疏璃桥，到布达拉宫前举行宗教仪式和各种表演，这时，赛佛台上就挂出这二幅巨大的唐嘎佛像，极为壮观。布达拉宫红宫第六层壁画回廊南侧的一幅“赛宝会”壁画，就是描绘悬挂唐嘎的情景。这幅壁画的画面场景宏大，从布达拉宫一直到大、小昭寺，画中人物不下千余个。非常气魄和壮美。

In Tibet's palaces, monasteries, and houses of Tibetans and estates, there is a tradition of drawing murals and hanging Tanga. These famous ancient buildings are known as the Museum of Painting Art. The ancient painters have created many spectacular volumes of historical and artistic value, and they are amazing in number. In order to store the two Tanga, and the Budala, at the feet of the Sevo, a second-storey building of 340 m2 has been built. Each year, Rasha, on 30 February, is going to hold a syllable event, a thousand of the temples are going to wear Buddhas, with all kinds of precious musical instruments, banners and banners.

　　壁画，含意明确。唐嘎，系藏语，即锦缎镶边的布轴画或丝绣。两者无论是内容还是表现技法都十分类似。壁画与唐嘎的题材十分广泛，有历史事件、人物传记、宗教教义、西藏风土、民间传说、神话故事等等，涉及政治、经济、历史、宗教、文艺、社会生活各个方面，堪称形象的百科全书。这些精湛的艺术品是藏族文明的史诗。按绘画所表现的内容可分为：

It's an encyclopedia of images in all areas of politics, economy, history, religion, literature, and social life. These fine works are the epics of Tibetan civilization.

　　宗教画：有佛、菩萨、天王、度母、天女、密宗本尊和护法神等偶像画。大昭寺、扎什伦布寺，以一组廊院专门绘制千佛，气势很大。宗教画中还有辨经、跳神、弘法、传经等宗教活动和表现宗教世界观的“坛城”画（金科）、“须弥山”图、“六道轮回”图。这些画形象描绘“因果报应”、“轮回转世”的抽象教义，鼓吹“天堂地狱”、“人生皆苦”宿命论，具有强烈的宣传效果和麻醉作用。

Religious drawings include icons such as Buddhas, Pursats, Kings of Heaven, Dou mothers, Tianxing, Mysteries and Guardians. The temples of Da Sun Temple, Zashramb, are dedicated to the drawing of Buddhas in a set of galleries. Religious drawings also include “Team City” drawings (Kinko) that identify proselytize, jump, law, proselytize, etc. religious activities and display religious world views. These images depict abstract teachings such as “Responsiveness”, “Return to life” and preach “Hell of Heaven” and “Life of Life” fatalism, with strong publicity and anaesthesia.

　　传记画：有表现释边牟尼生平及前世各种故事的本生图和佛传；有大师传（莲花生、阿底峡）、法王传（八思巴、米拉日巴、宗喀巴、五世达赖）、藏王传（松赞干布、赤松德赞）等等。这些壁画往往用几十以至几百幅连环画面，表现人物的生平事迹。如布达搠宫红宫第五层司西平措大殿的西壁上，全部是五世达赖一生的活动。壁画面达几百平方米。有一组唐嘎，以一百多幅画面描绘萨迦法王八思巴降生、赴京州、应召进京、返藏、二次入京、皇帝册封、圆寂等整个生平。古格王朝遗址白庙中绘有吐蕃王朝世系图，概括了王朝的发展过程。

Biographical drawings: images of the present and Buddhas that express the stories of the past and the rest of the past; legends of masters (Linian Plumbing, Adei Gorge), Kings of France (Othpa, Miraziba, Zongqaba, Dalai V, etc.); Tibetan kings of Tibet (Pong Xan Xan Kanbhu, Chisunde-Zan, etc.). These murals often use dozens to hundreds of serial images, showing the life of characters. As in the case of the western wall of the White House of the Red Palace on the fifth level of the Red Palace, it is all about the life of Dalai Five. The wall is about hundreds of square metres. A group of Tanga depicts the whole life of Sagafa, the birth of Sipa, the arrival of Kyoto, the return, the re-entry of the Emperor, the seal of the Emperor, the silence.

　　肖像画：有松赞干布、赤松德赞、赤热巴巾等藏王像，有文成公主、金城公主、尺尊公主等后妃像；有达赖、班禅等高僧活佛像等。

Portraits: there are Tibetan statues such as Xanagus, Chisunde-Zan, Tsang-ba-carves, post-principal statues such as the Princess of Wenchen, the Princess of King City, the Princess of Führer, and the living statues of monks such as Dalai, Banchen, etc.

　　故事画：以猴子变人最为著名。布达拉宫白宫东大殿、罗布林卡达旦米久颇章小经堂的“猕猴变人”壁画和大昭寺主殿内门楣上的木雕，都是有名的作品。故事说在古代西藏，一猕猴与石妖结为伉丽，生下六个猴儿，后繁衍至五百，得以神粮饲之，遂变为人。壁画和木刻中在石妖向猕猴求婚、神灵力主通婚等内容。雕刻非常动人，称得上是难得的珍品了。

The story is that in ancient Tibet, a monkey married to a stone demon, who gave birth to six monkeys, who grew up to 500 and became human. The murals and carvings proposed to a stone demon and married a godly man, among other things. The carving is a rare treasure.

　　风俗画：壁画中还有许多画面，表现了藏族社会生活和各个方面，有丰富多彩的文化娱乐和体育竞技活动，大昭寺主殿西壁南侧一组庆贺图有歌舞、乐器演奏、竞技表演，场面非常热烈。布达拉宫壁画中有赛马、射箭、摔跤、抱石等各种民间体育活动。桑鸢寺主殿回廊中有一组民间杂技如马技、倒立、攀索、气功表演等，人物神态动势栩栩如生。

Customary drawings: There are many images in the murals of Tibetan society and its various aspects, as well as cultural entertainment and sports competitions. A group of glorifications on the south-west side of the Temple of Tosho Temple include songs and dances, musical performances, competitive performances, and a lot of popular sports activities such as racing, shooting arrows, wrestling, holding stones.

　　建筑画：西藏古代建筑壁画中，都有许多魏伟壮观的建筑形象画，如大昭寺、布达拉宫、桑鸢寺、扎什伦布寺、萨迦寺、山西五台山等等。桑鸢寺全景图和落成图，画工精心描绘了五十余座殿宇、佛塔和众多的人物形象。布达拉宫兴建图是一组上百幅画面的组画，生动地再现了公元十七世纪修建布达拉宫的情景：石匠们在忙碌地开山凿石；拉萨河上牛皮船运送着石料；成千上万的劳动者攀行在布达拉山坡上；数不清的石匠、木工在砌筑墙体、搭置梁架……正是这些藏族人民，以他们聪明才智和勤劳勇敢的品格，创造了灿烂的古代文化。这组壁画是一份难得的关于藏族建筑营建的形象资料，具有重要的研究价值。

Construction: In ancient Tibetan architectural murals, there are many images of Wei Wei Wei's image, such as Daes, Budara Palace, Samsung Temple, Zashramb Temple, Saga Temple, Shanxi Mount, and so on. The Sangu Temple's panoramas and drawings have been carefully painted with more than 50 temples, pagodas, and numerous characters. It is the Tibetan people who have created an impressive ancient culture of Tibetan construction with their wisdom and hard work.

　　历史画：这类壁画，以史实为依据，着重表现历史上重大的政治事件和活动。其中以讴歌藏汉民族血肉相连友谊的作品，尤有特色，引人注目。“文成公主进藏”故事，布达拉宫大昭寺、罗布林卡都绘在醒目的位置。画面通过“使唐求婚”、“五难婚使”、“公主进藏”等形象，生动描绘了贞观十五年唐蕃联姻的历史事件。大昭寺、布达拉宫中的“欢庆图”，再现了文成公主驾抵“逻娑”时，吐蕃人民以节日盛装、载歌载舞的欢迎场面。布达拉宫白宫东大殿内“照镜子”壁，描绘的是公元710年金城公主下嫁吐蕃的历史。史布林卡达旦米久颇章内一幅“宴前认舅”，画的是金城公主的故事。公主与藏王赤德祖赞联姻，生下王子，被藏王另一王妃抢走，公主十分悲伤。当王子周岁时，藏王举行了盛大的宴会，公主和大唐使者、王妃和重臣贵戚应邀参加，分列两旁就座。藏王将斟满酒的金杯递给王子，说将酒献给你舅舅。王妃及其贵戚，拿出各种珍玩衣物，呼唤王子，而王子却将酒送到唐朝使者手中，扑入其怀说：我是汉人的外甥。母子重聚，情景动人。布达拉宫红司西平措大殿中，一幅“五世达赖朝见顺治图”，记述的是公元1652年五世达赖“赴京”、“觐见”、“游乐”等各项活动和欢迎盛况。这些壁画，生动地颂歌了藏汉民族间团结友好的历史。

History: These murals, which are based on historical facts, highlight the historic political events and activities of 15 years of concubine. They are particularly distinctive and striking in the form of the festivities connected with the blood and blood of the Han nation. The story of the “Hong Kong Princess” is painted in a visible place. The images are presented in the image of “King Tang proposed”, “Full in marriage” and “Princesss in hiding.” The images of the 15 years of confederate political events and events. The “girths” of the Da Sun Temple, the “Budala Palace”, the “glow in the blood and blood of the Hanan people,” when the “Hings” of the “Hing in the blood of the Hanan people,” the “Hands” of the Tibetan people, the “Sight in the mirror” of the White House of Budara, the “Sight in the mirror” of the Prince of the House, the “The King in the House” and the “The King in the House, the King in the House, the King in the House, the King, the King, the King, the King, the King, the King, the King of the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King of the King, the King of the King, the King, the King, the King, the King of the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King, the King of the King, the King, the King, the King, the King of the King, the King, the King, the King, the King, the King, the King, the King, the

　　西藏壁画与唐嘎构图严谨、均衡、丰满，布局上疏密参差，以虚济实，活泼多变。画法上主要有工笔重彩与白描种种，首先按照造像量度标准起稿，面部五官、头、胸、腰等各个部位的比例均有严格的要求。然后着色，用色上强调对比，讲究色彩富丽，追求金碧辉煌的效果，并用点金和其它中和色统一画面。最后线描，线条勾勒，一种线粗细一致、刚柔相济，另一种运笔有粗有细，顿挫变化，随画面的区别而运用，有的线条粗犷有力，有的圆润流畅，均能达到传神动人的效果。

The Tibetan mural and Tanga are well-structured, balanced, rich, well-structured, disjointed and vibrated. The drawings consist mainly of pen colours and whites, first of which are required in proportion to the standards of image measurement, and first of all in proportion to the different parts of the face, head, chest, waist, and so forth. Then colored, colored, coloured, colourful, looking for gold and other medium- and color-convergence images.

　　西藏壁画与唐嘎，经过画师千百年不断创造，在本民族绘画传统的基础上，吸取了汉地及邻邦印度、尼泊尔等外来的绘画技艺，形成自己的风格和民族的特色。并在长期实践中，出现不同流派，其中以“门当”、“青孜”两大派最为著名。门当派画风严谨端庄，大昭寺、布达拉宫一些壁画就是他们的作品。青孜派风格奔放活泼，夏鲁寺、白居寺、托林寺中的壁画则是这一派绘画成就的代表。

Tibetan murals and Tanga, which have been created by their painters for hundreds of years, learn from the art skills of Handi and its neighbours, India, Nepal, etc., to form their own style and national identity. In long-standing practice, there are different schools of art, known as the “Mandang” and “Kingz” schools.

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