Item: Shri Devi (Buddhist Protector) - Rangjung Gyalmo

旦增央嘎

四川大学中国藏学研究所

十世噶玛巴却英多吉不仅是17世纪西藏地区噶玛噶举派的宗教领袖，同时也是具有鲜明个人风格的杰出艺术家。布达拉宫馆藏《吉祥天母》唐卡，题写有内容、委托人、作者、纪年，以及创作地点等大量信息，且与传记所载准确呼应。题记反映出噶玛噶举派与丽江木氏土司间的渊源，以及却英多吉中年面临政治冲突选择逃亡云南的历史背景。画面中的吉祥天母，属噶玛噶举派特有护法，具备特殊图像特征与深刻宗教内涵。唐卡构图简洁，色彩内敛，审美独特，显现藏、汉两种风格特征，尤其生动地展现了却英多吉对后期习得的水墨法、没骨法等汉式技法的娴熟运用。此唐卡对于研究却英多吉个人绘画风格以及噶玛噶举派的特殊图像传统有着重要意义。

A Textual Research on the Thangka Palden Lhamo Painted by the 10th Karmapa Choying Dorje, Collected in the Potala Palace

Tenzin Yangkar

Center for Tibetan Studies, Sichuan University

The 10th Karmapa Choying Dorje was not only a religious leader of the Karma Kagyu School in Tibet during the 17th century but also an outstanding artist with a distinct personal style. The thangka Palden Lhamo (Auspicious Goddess) collected in the Potala Palace bears inscriptions recording key information such as content, patron, author, dating, and place of creation, which accurately correspond to the records in biographical documents. The inscriptions reflect the historical connection between the Karma Kagyu School and the Mu clan chieftain of Lijiang, as well as the historical background where Choying Dorje, in his middle age, chose to flee to Yunnan amid political conflicts.

Palden Lhamo depicted in the thangka is a unique protector deity of the Karma Kagyu School, with special iconographic features and profound religious connotations. The thangka features a concise composition, restrained colors, and a unique aesthetic, presenting both Tibetan and Han stylistic characteristics. In particular, it vividly demonstrates Choying Dorje’s proficient application of Han-style techniques he learned in his later years, such as ink wash painting and boneless painting (a technique without outlining contours).

This thangka holds great significance for studying Choying Dorje’s personal painting style and the unique iconographic tradition of the Karma Kagyu School.

Tenzin Yangkar 9-2025