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Si tu paṇ chen's Artistic Legacy in 'Jang |
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| Author |
Debreczeny, Karl (著)
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| Source |
The Journal of the International Association of Tibetan Studies (JIATS)
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| Volume | n.7 |
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| Date | 2013.08 |
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| Pages | 193 - 276 |
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| Publisher | International Association of Tibetan Studies (IATS) |
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| Publisher Url |
http://www.thlib.org/collections/texts/jiats/
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| Location | Virginia, US [維吉尼亞州, 美國] |
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| Content type | 期刊論文=Journal Article |
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| Language | 英文=English |
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| Note | Author Affiliation: Rubin Museum of Art, New York, US |
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| Abstract | The influence of the brilliant scholar and painter Situ Penchen Chökyi Jungné reached far beyond the kingdom of Degé (Dege 德格), extending even into Yunnan Province of southwestern China, where Situ traveled three times, over a thirty-year period from 1729 to 1759. Almost from the moment that Situ established his seat – Pelpung Monastery – until his death, he became increasingly involved and invested in Jang Satam (Lijiang 麗江). I will use several Tibetan sources to reconstruct Situ’s engagement in Jang Satam, foremost being Situ Penchen’s own diaries. These Tibetan accounts will be corroborated and fleshed out using local Chinese records, such as contemporary gazetteers, royal genealogies, and temple records. Within both Tibetan and Chinese sources, one sees Situ engaged in asserting his authority over monasteries in northern Yunnan, through his participation in their founding, consecration, ordination of monks, assignment of liturgies, and recognition of local incarnate lamas. Situ also arrived during a critical period of transition for the area: the kingdom of Jang Satam had just been abolished and Situ cultivated the new imperial authority in the region, the Qing-appointed magistrates, as new local patrons. Visual evidence from the eighteenth century also suggests that the formerly vibrant local painting workshops ceased to exist, and the monasteries looked to Pelpung Monastery, with its prominent artistic traditions, as their new center. Using visual evidence gathered in situ during fieldwork, I will demonstrate Jang Satam’s new incorporation into the Pelpung artistic orbit in surviving wall paintings, which I argue drew directly from Situ commissions that art historians are only now able to reconstruct. |
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| Table of contents | 1. Introduction
2. Jang Background
3. Jang Patronage of Karma Kagyü
4. Demise of Jang Kingdom
5. Collapse of Karma Kagyü in Central Tibet
6. 1730: Situ Penchen’s First Visit to Jang
7. 1739: Situ Penchen’s Second Visit to Jang
8. 1759: Situ Penchen’s Third Visit to Jang
9. Continued Contact with Lijiang
10. Chinese Painting at Situ’s Court
11. Conclusion
Glossary
Bibliography
Notes |
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| ISSN | 15506363 (E) |
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| Hits | 37 |
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| Created date | 2024.04.12 |
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| Modified date | 2024.11.01 |
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