摘要
1994年,伊•阿拉索普的拓荒研究《喀萨玛拉王国的金属造像》,以几尊观音菩萨、般若佛母和禅定尊造像为例,提出了界定喀萨玛拉王国13至14世纪占主导地位的塑像风格的明显特征,但没有提及佛陀造像。在我关于多波文化史的研究中,《喜马拉雅藏珍:多波的西藏写本、绘画和塑像》一书和随后的研究也公布了一些迄今仍保存在尼泊尔西部喀那利盆地(以前属喀萨王国领地)的石雕像、金属佛陀造像以及一尊喇嘛像,具有阿拉索普所辨析出来的喀萨工艺的独特审美特征。一些造像是为多波的施主订制,最终供奉于多波的佛教和苯教寺院神坛;一些是为西藏和尼泊尔13至14世纪尚不能确定身份的施主制作。最后的一件作品是21世纪加德满都以喀萨风格制作的一件佛陀造像。
In 1994,Ian Alsop's seminal research"The Metal sculpture of the Khasa Malla Kingdom"provided clear characteristics to define the sculptural style predominant during the 13^(th) and 14^(th) centuries in the Khasa kingdom,exemplified by several sculptures of the Bodhisattva Avalokitesvara,the goddess Prajnaparamita and meditation deities.No sculptures of Buddha were examined in Alsop's initial study.In the course of my research on the cultural history of Dolpo to prepare Hidden Treasures of the Himalayas,Tibetan Manuscripts,Paintings and Sculptures of Dolpo,subsequent research has yielded sculptures in stone still in-stiu in the Kamali basin in western Nepal(the former Khasa territory)as well as cast sculptures of the Buddha and a lama which share the distinctive aesthetic features Alsop identified as typical of Khasa workmanship.Some were commissions for patrons in Dolpo,where they eventually graced the altars of both Buddhist and Bonpo monasteries,some were for unidentified patrons in Tibet and Nepal during 13^(th)-14^(th) century.The final example is a 21^(st) century cast sculpture of the Buddha made in the Khasa style in Kathmandu.
作者
艾米·海勒
Amy Heller(Institute for the Science of Religions and Central Asian Studies,University of Bern)
出处
《藏学学刊》
2020年第1期215-235,347,共22页
Journal of Tibetology
