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20世纪初期,少数探险家和旅行者到达了喜马拉雅地区,西藏唐卡便经由他们从山脉内陆流向了世界的四面八方。近距离的有东南亚诸国,远距离的有英美澳等西方国家。上世纪50年代后,尤其是文革出现走私风潮期间,唐卡更是通过各种渠道大量流传国外。几乎同时兴起的西方学界研究,经历了从“物理性”角度讨论唐卡的保护,到开始从“灵魂性”层面思考唐卡保护问题的流变。唐卡的存续状态,在西方与东南亚所呈现的是完全不同的境遇:在西方收藏界扮演的角色分量重于商业市场,唐卡产业还未得到成熟地发展;东南亚国家呈现的却基本相反,即对于商业化的追求已经超过了对其原本艺术价值(包括社会功能)的强调。
In the early 20th century, a handful of explorers and travelers arrived in the Himalayas, and Thangka, Tibet, inland flowed from the mountains to the world in all directions. Near Southeast Asian countries, long-distance Britain, the United States and Australia and other Western countries. Since the 1950s, especially during the Cultural Revolution, Thangka has spread abroad through a variety of channels. The research of western academic circles, which started to rise at almost the same time, went through the discussion of the protection of Thangkas from the perspective of “physicality ” and started to reflect the evolution of the Thangka protection from the perspective of “soul”. The status quo of Thangka is totally different from that of Southeast Asia. The role of Thangka is more than that of the commercial market, and the Thangka industry has not yet matured. The Southeast Asian countries have basically the opposite trend. That is, the pursuit of commercialization has already exceeded the emphasis on its original artistic value (including social function).