Investigation Of Image Of The Strong Man In Guge Murals In Ngari Of Tibet

The image of the strong man in Guge murals,which reflects not only the unique characteristics but also the integration of multi-artistic style with mainly the Kashmir styl,is the typical and unique artistic models in Tibetan Buddhist murals. Investigation of the strong man in Guge murals could help us to learn about the varieties and cultural characteristics of Buddhist mural in the age of Guge, study Tibetan traditional culture and enhance the patriotism.This paper is focus on the images of the strong man in the age of Guge, which is divided into five chapters: the introduction part, the main body (including three chapters) and the conclusion.In the introduction, it aims at illustration of the significance of the investigation and the development of this research on the Guge strong man in the world.The first chapter presents the geographic place and the historical background of Guge Dynasty. This chapter consists of two sections: the first section showed the geographic place and the historical introduction of Guge Dynasty in Nagri;The second section introduced the impact of"three roads"(the Silk Road, the Musk Road and the Salt Road) on the Guge Dynasty and its murals. The result showed Guge's role not only act as the transfer station on the"three roads"position of Guge Dynasty but also play an important role in the evolvement and development of the national culture.The second chapter summarizes the characteristics of the strong man. This chapter is divided into five sections: the first chapter expounds the arctic style and sample of Guge murals by dividing the murals during the 10th-17th century into three stages;the second section presents the origination of the image of the strong man and the similarities as well as differences among the wrathful Buddha, varjaya, the four guardian kings and the strong man; the third section analyses the image and characteristics of the strong man from hisshapes, drawing methods, clothes and functions. At the same time, it also depicts the characteristics of the pictures and the image in the Donggya grotto and compares them with the image of the strong man meanwhile; the fourth section gives some brief introductions of the images of the strong man in the Tolin monastery and Guge Palace site and the last section simply summarizes the image and characteristics of the strong man in the epoch of the Guge Dynasty.The third chapter comparatively analyses the images of the strong man in Guge and those in some other places. This chapter contains two sections. The first section compared and summarized information of the strong man in Nagri and Central Tibet; the second section compares the image in Nagri with the image in the Dunhuang grotto (especially the similarities and differences). Through the comparison, the main conclusion can be listed as following: Although some similarities exist between the Guge mural and Dunhuang grotto such as shapes, places and functions in the early time, large difference present more and more obvious accompanied with the ceaseless development of the culture. The images of strong man had gradually become unique and own the typical Tibetan style finally.This paper firstly expounds and analyses the images and characteristics of the strong man in Guge murals. The whole text showed the similarities and differences among the Strong man in Nagri and other places from different angels, such as artistic images, history, ethnology and so on, so that the paper could show the vivid cultural essence of the strong man in Guge Dynasty. Through a series of researches and inquires, the thesis maybe not only serve as some supplement material to the research of the Nagri murals, but offer some help to the further research on Tibetan religion and culture in Guge Dynasty.