The Influence By Tibetan Buddhism To The Mongolian Painting Of Buddhism

Tibetan Buddhism art was introduced to the Mongolian Plateau as the Tibetan Buddhism spreaded to the Mongolian Plateau in the 13th century The Mongolian have gradually formed a Buddhism drawing system with unique nationality characteristics in the process of accepting the Buddhism art and incorporate it with the local art The whole article is divided into four chapters.And in the first chapter I elaborated the course of history of the spreading of Tibetan Buddhism to the Mongolian Plateau macroscopicly as well as the main situation of Mongolian painting of Buddhism in each development phase.As the key point of the article,I analyzed the influence on the content and modality of Mongolian paintings of Buddhism by Tibetan Buddhism at the micro level in the second and the third chapter,with taking the Mongolian temple drawings as the example.In the fourth chapter I sketched out the whole style of Mongolian Buddhist painting,the positive and negative aspects of transmission of the Buddhist painting and its effect on Mongolian art of painting.I wrote this article in the purpose of studying the influence of Tibetan Buddhism to the Mongolian painting art in different historical stage and summarizing the rules of formation and development, the essential fature and the overall style of Mongolian painting of Buddhism. I followed the theory of historical materialism and dialectical materialism of Marxism, the comparative study, the macroexamination and microexamination, Journal of historiography, on-the-spot investigation and linking the theory with practice in the article. The significance of my research is that it has great importance to do with the Mongolistik study, the research of the relationship between Mongolian and Tibetan and the inheriting, protecting, innovating, developing national culture. The innovating spot is that I took the Mongolian paintings of Buddhism as a special matter of subject and studied the rules of its sprout, formation, development, declining and revivement and sum up the character of its content and modality and supplied a gap in the study of Mongolian paintings of Buddhism. My conclusion is that the ancient Shamanism drawing had been replaced by modern Mongolian painting of Buddhism gradually with the influence of Tibetan Buddhism in different historical stage. And the modern Mongolian Buddhist painting, having established a system of its own, is supporting the unique spirit of the whole Mongolian nationality.