Tibet Alipu orchid Jiazulakangmen carved interpretation
|School||Central Academy of Fine Arts|
|Keywords||Mnga ris wooden Western Himalaya Architecture Sculpture Art Ye she’odRin chen bzang po|
Although the wooden carvings on the doors have been always the focus of the Tibetan monasteries decoration, there’s no one works making a systematic study on this subject. As one of the artistic forms, the wooden carvings have close relations with the door as an organic whole.This article is concentratred on the wooden carvings on the door of gTsug lag khang of the Buddhist monastery of Khojarnath at Purang country in today’s Ngari district in the southwestern part of the Tibet Autonomous Region, then extending to the wooden carvings ruins remaining in Western Himalay eara. By the comparaison of geography, history, art styles, and religious meaning and so on, we try to explore the origins of art styles of the wooden carvings on the door of gTsug lag khang of Khojarnath, to dig out the uniqueness of the religion of Western Tibet during the Ye shes ’od era, to clarify the specific content of Rin cen bzang po’s religious ideas under specific situations, to glimpse the content and characteristics of the Buddhism of Western Tibet Kingdom.A major feature of the Khojarnath monastery is the wooden carvings on the door of gTsug lag khang, which are of regular shape, symmetrical layout, beautiful carvings, rich content, decorative patterns in parallel with religious themes, decorative harassment and pregnant with meaning. There are the the Durgatiparishodhana Mandala、Vajradhatu mandala as religious themes and the story of Sakyamuni, the story of "Ramayana", the Nagananda as the main decorative theme on the peidment, which reflect the historical characteristics religious environment and social situation. Rhombus flower、double diamond pattern honeysuckle patterns、 vajra patterns、flying apsaras, eight Auspicious, the glory of the face as the embellishments which enrich the layers, also reveal the the aesthetic custom and the excellence of the carving skillsThrough the hands of the artists of Nepal, Jokhang Temple wood carvings adhere to the aims of that of the Pala Dynasty in India during the religious intention. Based on the location, shape characteristics, the woodcarving on stigmax remains in Western Tibet and Tsang show a continuation of the Jokhang Temple carvings.The ruins of the temple carvings of the Western Himalayan zone, despite within the scope of Nyari dynasty, because of the environmental impact of the local and surrounding areas, integrating of other elements, both don’t lose the fashion of the time and showed their own unique style.