Therefore, the discussion of Sino-Tibetan art exchange is beyond the understanding and understanding of art history itself.
For this cultural phenomenon, academic circles have discussed it to varying degrees, but the focus of relevant research is on the architecture, the shape and function of the statue, the artistic style of the painting, as well as the identification of the mural image, the interpretation of the inscription, and other aspects.
The emergence of this result is not accidental, but the inevitable development of Tibetan civilization to the east.
It is in the course of thousands of years of exchanges that the exchanges and exchanges between Han and Tibetans run through all aspects of the production and lifestyle of Han and Tibetans, and have a profound impact on the occurrence and development of their ethnic art, especially the absorption and reference of Tibetan art to the art of the Central Plains, which vividly reveals the historical facts of the joint creation of the history of Chinese civilization by Han and Tibetans and other ethnic groups, It has played a positive role in promoting the formation and development of a unified multi-ethnic country in China.
Contemporary China is moving towards the comprehensive rejuvenation of the Chinese nation, which cannot be separated from the coexistence of multiple cultures.
Because as an important cultural representation of the exchanges and exchanges between Han and Tibetan nationalities, the art remains with the characteristics of “combination of Han and Tibetan” are one of the most direct and typical cultural examples of the formation of the multi-ethnic pattern of the Chinese nation.
” From the perspective of cultural relics, many Tibetan architectural arts in the Yuan Dynasty were deeply influenced by the Han culture.
This issue launched the third article of the “Tibetan art” theme: “Sino-Tibetan blend: cultural communication interpretation of the influence of Han and local culture seen in Tibetan architecture of the Yuan Dynasty – starting from two examples”.
It is the complex ethnic relations between Mongolia and Tibet, Mongolia and Han, Tibet and Han that contributed to the extensive exchange and integration of Han and Tibetan art in the Yuan Dynasty.
1、 Two examples of Tibetan architectural art in the Yuan Dynasty (1) The Northern and Southern Sakya Monastery is located in the Sakya Monastery in today’s Sakya County, Shigatse, Tibet.
Among them, the four buildings, including the Mazulakang in Uzining, the Gusong Temple in Uzin Samaranda, the Xiazhulakang and the Quchichinmu buildings (double eaves Xietop), adopted the Xieshan Golden Roof.
As a cultural representation of ethnic communication relations, the formation of this artistic relationship between Han and Tibet took place and realized under the background and conditions of the Great Unity Dynasty of the Yuan Dynasty.
In this respect, the study of Sino-Tibetan art exchange undoubtedly provides an excellent case of art history.
How to solve the contradiction between the diversity, conflict and coexistence of national cultures, seek national balance and harmony, and forge the sense of Chinese national community is a major issue that contemporary China must face.
In view of this, the Xianglu Academic Committee specially launched the theme of “Tibetan Art”.
Key words: Tibetan architecture in the Yuan Dynasty; Sakya; Han influence; Sino-Tibetan art exchange+XIANGLU Contemporary China is moving towards the comprehensive rejuvenation of the Chinese nation, which cannot be separated from the coexistence of multiple cultures.
For the geographical distribution and causes of the architectural art heritage with the Sino-Tibetan style, there is a lack of integrity and systematic research from the perspective of cultural communication, and there is little discussion of the deep logic behind the Sino-Tibetan art exchange, Including the ethnic relations behind the interaction.
In this respect, the study of Tibetan art undoubtedly provides an excellent case of cultural history.
The shape of Xieshan Jinding indicates that the North Temple was influenced by the Han culture, but whether it originated from the Han area of the Yuan Dynasty is controversial..
These articles contain both macro-level paradigm thinking and micro-level case studies, hoping to lead readers into Tibetan art and further understand its development context and academic rationale.
That is, how to solve the contradiction between the diversity, conflict and coexistence of national cultures, seek national balance and harmony, and forge the sense of Chinese national community is a major issue that contemporary China must face.
The Beisi Temple was built in 1073.
The blending of Han and Tibet: the cultural communication interpretation of the influence of Han on Tibetan architecture in the Yuan Dynasty — From two examples to talk about the abstract of Deng Chang, associate professor and doctoral supervisor of the Chinese Village Culture Research Center of Central South University: The Sakya school or the temple buildings closely related to the Sakya school in the Tibetan architectural art of the Yuan Dynasty, such as the North-South Sakya Temple and the Xialu Temple, were obviously affected by the Han culture.
Therefore, based on the interpretation of two examples, this paper attempts to clarify the transmission path of the influence of Han on Tibetan architecture in the Yuan Dynasty, and reveal its communication logic and the ethnic relationship behind it.
According to the investigation and research of the Tibet Cultural Relics Management Committee, it can be basically determined that there were more than 40 buildings before the destruction.
The historical generation of the “Han Tibetan combination” architectural style in Tibet in the Yuan Dynasty is, to a large extent, the subsidiary product of the local political forces in Tibet based on political considerations, and the manifestation of the special political and religious affiliation between the Sakya sect and the Yuan Dynasty court.
It is divided into the northern and southern temples with the Zhongqu River as the boundary.
Specific traditions of images, worship, customs, rituals and works of art, as well as specific events, heroes, landscapes and values, together create a unique resource pool for ethnic culture.
The future generations of the community can selectively draw and nurture from them Minutes.
British scholar Anthony D.
Smith once said: “These historical heritages and traditions have been passed down from generation to generation, and may change greatly or slightly in form, but they delimit the boundary for the appearance and cultural connotation of the community.
XIANGLU Village/Academic Tibetan Art Column (III) Introduction: In the history of the formation of the Chinese nation, there is an undeniable fact that Tibetans living in the Qinghai-Tibet Plateau have been closely connected with the mainland of the Central Plains since ancient times, and have become one element of the pluralistic integration of the Chinese nation in long-term exchanges and interactions.
There are three articles in this issue: “Research on Tibetan tapestry art in Qing Dynasty under the influence of Sino-Tibetan cultural exchange”, “From” Indo-Tibetan “to” Sino-Tibetan “: the perspective and paradigm of the study of Tibetan art exchange history”, and “Sino-Tibetan blend: cultural communication interpretation of the influence of Han seen in Tibetan architecture in the Yuan Dynasty – starting from two examples”.
