尼泊尔绘画的精神:是什么推动了艺术

M. Chitrakar
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引用次数: 1

摘要

(注:这里的“尼泊尔绘画”专指植根于宗教信仰的早期绘画艺术,而不是西方绘画观念到来后出现的艺术。)几个世纪以来,“尼泊尔绘画艺术”一直局限于与精神信仰相关的视觉形式,或者是对印度教和佛教万神殿图像的描述。有时,视觉效果也叙述了特定思想或邪教在特定时间内的兴起或衰落。在艺术中发现的复杂性也引起了许多人的兴趣-通过无数令人印象深刻的图像-代表不同的意义或信仰,以不同的视觉形式表达。但很少有人解释或争论其主要原因或人类更深层的愿望。争论或解释它,仍然是一个挑战。为了深入探讨这个问题,我们也必须回溯到更早的时代,在那个时代,选定的思想首先出现或给早期的人们留下了深刻的印象。这是必要的,以便了解当时的心理状态和他们对生活的看法。只有这样,人们才能想象或分析是什么导致了他们选择的信仰和我们今天称之为艺术的视觉形式。这应该被描述为艺术的驱动精神。因此,目前的文章是一个简短的和适度的尝试来解开一些这样的驱动精神-基于现有的参考资料和个人观察。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Spirit of Nepali Painting: What has hath Driven the Art
(Note: Herein the term, ‘Nepali Painting’ exclusively refers to the earlier art of Painting – rooted in religious faiths: and not the art that emerged after the arrival of western notion of painting.) For centuries, ‘The art of Painting in Nepal’ remained confined to the visual forms associated with spiritual beliefs: or as a description of imageries from Hindu and Buddhist pantheon. Occasionally, the visuals also narrated rise or decline of particular thoughts or a cult within a given time. The complexities found in the art also, have had intrigued many – by the impressive presence of myriad set of imageries – representing varied meanings or beliefs, expressed in diverse visual forms. But little is explained and argued on or about the underlining reasons or the deeper human desire to envision so. To argue on it or explain it, it remains a challenge. To dwell on it, it also becomes imperative to go behind - look to the earlier times when chosen thoughts were appeared first or impressed upon the early people. This is necessary so as to understand the state of mind and their perception of life then. Only then, one can or may imagine or analyze what may have had led them to the chosen beliefs and to the visual forms that we call art today. This should be described as the driving spirit of the art. Present essay therefore, is a brief and a modest attempt to unravel some of such driving spirits – based on the available references and also, personal observations.
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