Nepali Paintings: A Departure From Religious Contents to Secular Subject Matters

Y. Sharma
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Abstract

Traditional Nepali paintings are religious since they are based on Hindu and Buddhist myths. Manuscript illuminations and paubhas, the examples of religious paintings, have magical and mystical contents. Characters of myths have been portrayed and mythical stories have been narrated in visual form. There are a series of changes from traditional Nepali paintings to contemporary works. In painting, secular elements are introduced through didactic visual narratives from Hitopadesha manuscript. The moral lessons are taught through animal fables. Early paubhas are fully religious but later paubhas include portraits of the donors or the persons who asked to paint the picture at the bottom of the painting. The main part of the painting is religious but the portraits are secular. In later paubhas, the figures of the donors become larger and take equal space in the painting. Gradually, the portrait became bigger than the religious figure at the end of the Malla period. From the beginning of the Shaha period, portraits existed independently. During the Rana rule, the art of portrait painting reaches the climax since the Ranas loved the image of themselves and their family members. The artworks exist independently without reference to myths and religious texts. There is the transition from religious contents to secular subject matters. This article traces the development of secular elements in Nepali paintings. It compares the paintings in terms of the inclusion of secular elements.
尼泊尔绘画:从宗教内容到世俗主题的背离
传统的尼泊尔绘画是宗教性的,因为它们基于印度教和佛教的神话。作为宗教绘画的代表,手抄本上的装饰画和画卷具有神奇和神秘的内容。神话人物被描绘出来,神话故事被以视觉的形式叙述。从传统的尼泊尔绘画到当代作品有一系列的变化。在绘画中,世俗元素通过希帕德萨手稿的说教性视觉叙事引入。道德课是通过动物寓言来传授的。早期的画完全是宗教性的,但后来的画包括捐赠者的肖像,或者画底部要求画这幅画的人的肖像。这幅画的主要部分是宗教的,但肖像画是世俗的。在后来的画中,捐赠者的形象变得更大,在画中占据了同样的空间。渐渐地,在马拉时期末期,这幅肖像变得比宗教人物更大。从沙哈时期开始,肖像就独立存在了。在拉纳统治时期,由于拉纳家族对自己和家人形象的喜爱,肖像画艺术达到了高潮。这些艺术品独立存在,不涉及神话和宗教文本。有从宗教内容到世俗主题的过渡。本文追溯了尼泊尔绘画中世俗元素的发展。它从世俗元素的角度来比较两幅画。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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