A Study Of The Polychrome-Central Asian Style In The 11th Century Tibetan Buddhist Art

This article focuses on the murals on the north wall of the first floor of the Jingxiang Buddha Hall in the Zhatang Temple in the 11 th century in the Tibetan area.It analyzes the formation,artistic characteristics,and causes of the Polu-Central Asian art style in the Tibetan area in the 11 th century from these murals.The Polu-Central Asian art style presented in the Zhatang Temple is complex,diverse,and comprehensive.This article analyzes the Indian Polu style in the murals and explores the "Central Asia" connotation of the Polu-Central Asian art style.The article believes that the Polu-Central Asian art style in the Zhatang Temple inherited the Tubo traditional art of the early period of Tibetan Buddhism and the Indian Polu art style.In the 11 th century,Tibetan Buddhism experienced a renaissance after the ban on Buddhism,and after the forced interruption of communication between India and Tibet,Indian Buddhism was spread along the ancient Silk Road and the Tang-Tubo Ancient Road,and had mutual influences with Yutian,Gaochang,Xixia,Dunhuang,and other regions.The Polu-Central Asian art style in the Zhatang Temple absorbed artistic elements from this route,exchanged and integrated them,and then re-entered Tibet,forming a unique Polu-Central Asian art style that perfectly presents the integration of foreign Polu art style and local Tubo art style.After the 12 th century,with the development of Tibetan Buddhism,the Polu-Central Asian art style was gradually replaced by new Indian Polu art styles.Therefore,the murals preserved in the Zhatang Temple have certain research value.In the history of Tibetan Buddhist art,the murals in the Zhatang Temple represent the last brilliance of the Polu-Central Asian art style and were gradually replaced by new art styles.This article takes the development history of Tibetan Buddhism as the background and extends the development process of art styles related to Tibetan Buddhism through the history of its religious development.It analyzes the artistic origins,styles,and causes of the murals,and compares and analyzes the similarities and differences between similar "Samada type" and Tibetan Buddhist stone carvings in two different periods in the northwest Yushu area,exploring the connection between these carvings.