Dpal-ldan-lha-mo's Statuary Art

Dpal-ldan-lha-mo as an important female Dharmapalas in the Tibetan deity system, it carries the time-honored culture of religion, art and belief. It also enjoys a great worship as a black-faced deity of the successive Dalai Lama deities system and as a patron saint in the Tibetan area.Tibetan Buddha statue has a wide range of types and forms. And the number of Tibetan female Buddha statue is substantial. According to the texts and information collected by the candidate during the field work to find that research about female statues are very few. As for Dpal-ldan-lha-mo, it was just more discussed and analyzed by previous scholars from the aspects of religious rituals and folk festival. While in the paper, candidate will focus on its imaging measurement, genres, styles and aesthetic characteristics and to find out its religious significance and aesthetic idea by taking advantage of culturology and aesthetic theory. Statue art as something of visual culture, it holistically manifested the truth, goodness and beauty in the religious culture. The art of Dpal-ldan-lha-mo statue not only highly generalizes the spirit culture, but also manifests the physical formSo the paper chooses Dpal-ldan-lha-mo as the subject of study. Candidate conducts a profound analysis to its distinctive features and the implied cultural meaning with the purpose of making its religious image and cultural connotations perfect. To find out that Dpal-ldan-lha-mo is not only existed in the form of divine character, but also as a female character. Its statue art not merely reflected the dogmata of the Tibetan Buddhism and something of humanistic concern to the group of Dpal-ldan-lha-mo female deities showed by the Tibetan culture, but also embodied the unique aesthetic conceptions and artistic taste of the Tibetan people.Generally, Tibetan Buddha statue art mainly focus on describing and manifesting the feature of the character. For Dpal-ldan-lha-mo, it is characterized by the feature of ire and stillness, which is different from the other female deities of Tantra. And studying it will be bound to conduce to a good understanding of the whole Tibetan deity system, so this paper is going to focus on its origins, vicissitudes, status traits, aesthetic art and its religious rituals with the purpose of having a good perspective of its artistic characteristics and cultural connotations.The paper consists of preface, body (four chapters) and conclusion. In the preface, the candidate mainly introduces the previous research and research method. The second chapter mainly discuss about the origin of the Dpal-ldan-lha-mo and its prototype in the Indian culture and Tibetan culture. The third chapter chiefly revolves around the types and measurement of production of the Dpal-ldan-lha-mo statue art, thereby making a breakdown of Dpal-ldan-lha-mo in terms of genres and traits. And the fourth chapter as the key chapter, which mainly talk about the religious meaning and aesthetic value of the Dpal-ldan-lha-mo statue art by analyzing its image and the implied religious meaning..aesthetic characteristic and value, statuary style and cultural diversity in three different sections.According to the various features and body performance of the Dpal-ldan-lha-mo, the paper made a profound analysis to the image characteristics, the implied religious meaning and aesthetic value of it. What’s more, the paper had a discussion about the religious glamour, aesthetic implications and multicultural trait of the different Dpal-ldan-lha-mo statue art from the aesthetic standard of symbolic beauty, artistic beauty, emotional beauty and humanistic beauty. Also, have a summarization to Dpal-ldan-lha-mo and religious rituals of Dpal-ldan-lha-mo. To conclude the influence and value generated by the cultural phenomenon of Dpal-ldan-lha-mo to the entire society.