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Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/150488
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| Title: | Tibetan Art: The Sacred Exchange of the Image World |
| Authors: | 陳乃華
Chen, Nai-hua |
| Contributors: | 民族系 |
| Date: | 2023-06 |
| Issue Date: | 2024-03-15 11:31:50 (UTC+8) |
| Abstract: | Buddhism is seen as an open system, and the position of social groups is to place its symbolic order through the establishment the system. The ups and downs of Tibetan art are determined by the relationship between the donor and the abbot, the emperor and the lama. Tibetan art spread in Central Asia from the tenth to eleventh centuries AD, and from the thirteenth century onwards, sophisticated techniques were mastered by the Mongolian and Tibetan families. From the cooperation between the Sakya sect headed by Phasiba in the Yuan Dynasty and the Mongolian Yuan regime, it continued to the Ming and Qing dynasties. Especially in the early Qing Dynasty, under the basic national policy of "respecting the Yellow Sect to reassure Mongolia" and respecting the Gelug sect of Tibetan Buddhism, the Tibetan Buddhist monasteries were overhauled in the Central Plains to expand their ruling power through religious belief, and a large number of monasteries were built, which also formed contacts. In the meantime, there are groups of artists who perform. As a result of the Qing Dynasty, religious art activities supported by the state prevailed, and a large number of artist groups flowed. At this time, the Sino-Tibetan art exchange was carried out through the mechanism promoted by the upper level, all of these promoted the formation of an active "dynamic field" in Tibetan art. |
| Relation: | AAS-in-Asia Conference, 韓國國立慶北大學 |
| Data Type: | conference |
| Appears in Collections: | [民族學系] 會議論文
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