| Visual culture has become a contemporary cultural landscape and cultural expression.Its distinctive feature is that images has gradually become the main cause of culture and are used as basic ideograms and dominant ways to convey information and explain the world.In the context of the image age,images seem to have been highly secularized,aestheticized and even entertaining.However,this is far from being the entire visual practice of all social members in China.Among the Tibetan groups whose religious activities still play an important role in daily life,a series of visual practices surrounding images and seeing also permeate with the sacred and profound cultural connotations.This dissertation is based on the Labrang and the Regong which is situated in Huangnan Tibetan Autonomous Prefecture of Qinghai Province in the surrounding area,as the two are the main place of production and circulation for Tibetan Buddhist art such as statues,Thangka and murals in Amdo.Their social interaction is frequent.Tibetan Region.Taking the Buddhist halls of Tibetan families who believe in Gelug in the region as the specific space field of the study.The visual images such as statues,Thangka and photos are taken as the main visual analysis texts,and the visual culture theory is used as the basis,also the explain Anthropological theory and ritual theory are supplemented to construct a framework coordinate of analysis,and the three perspectives of communication,religion and art are merged and intersected to achieve the purpose of interdisciplinary and multi-dimensional study of images in Tibetan family Buddhist halls.This paper follows the“bottom-up”research path adopted by anthropology,attempts to start from ordinary Tibetan families and individuals,participates in fieldwork and observes the daily life and social interactions of ordinary Tibetan people around the image of family temples.How do they use,revitalize images such as statues,Thangkas,pictures,etc.,and explore the hidden patterns of Tibetan ordinary people as the main body of the image of the Buddhist hall,the hidden visual modes,initiative,uniqueness also diversity in the practice of image viewing,and the expression of image meaning and image communication?To some extent,space determines the meaning of the image and the way it is viewed.Therefore,this thesis begins with the space,expounds the distribution and presentation of Tibetan family Buddhist halls in the daily living space of Tibetans,and analyzes its spatial significance layer by layer,and emphasizes the sacredness of this particular space.Then,the paper analyzes the common images in the Tibetan family Buddhist halls according to the different medium,and discusses the orientation of the images of different medium in the religious life of the Tibetan people.Under the surface of the classification of Tibetan family Buddhist halls,it is worthwhile to explore and think about how these complicated images can live together in the space of the Buddhist halls in accordance with the hidden Consecrate pattern,and what functions are these images play in the daily life of the Tibetan people? This function identification is not a simple top-down empowerment in the macro sense,but an insight from the micro perspective of the Tibetan people's daily life.There are many connotations in the images of Tibetan family Buddhist halls.They can not only be used as sacred objects for performances and worships in daily religious ceremonies but also serve as visual media,and promote communication and interaction at various levels.They also have the aesthetic sense of art and preserve the unique aesthetic temperament of the Tibetan.Moreover,these three traits coexist harmoniously in the image application of the Tibetan people.The destiny of images lies in seeing.which,in essence,is a kind of cultural behavior,deeply shaped and constructed by specific cultures.The key to visual culture is to explore a correspondence of the image between the viewing subject and the viewing object.Different visual concepts create different visual experiences,visual traditions and visual conventions.A specific cultural context will inevitably form a stable and dominant viewing mode.In the visual practice of the image of the family halls,the Tibetan people formed a set of viewing paradigms,including instant liberation,gaze and visualization.At the same time,they also developed a lot of disciplinary observations,which formed various taboos for seeing.Visual culture research not only pays attention to the specific visual image,but also examines the groups in the specific culture,how to give meaning to what they see in the identity and perspective of the subject.In this paper,the image is restored from static existence to the active behavior,and further analyzes the Tibetan people's production,interpretation and activation of the meaning of the image in the visual practice of the Buddhist halls,and how to communicate and interact with these images.Finally,this paper attempts to extend the space,because the hall is not closed and isolated,and those images are not only sealed in this space,they also transferred to the space outside the Buddhist halls with social interaction and cultural interaction.These images with Thangka as the main form of expression,when they walk out of the sacred space of the original family halls and monasteries,enter the modern public space such as exhibition halls,the viewing mechanism includes viewing space,viewing subject,viewing mode and images.The connotation has also undergone reconstruction.In summary,this dissertation draws three conclusions.First of all,the image of the Tibetan family Buddhist halls has the characteristics of the integration of religious sacred objects,communication media and aesthetic art.in general,As a cultural symbol,the images of Tibetan Buddhist halls are not only aesthetic,but also religious and communicative.Secondly,the seeing of Tibetan family Buddhist halls images is sacred.The Tibetan people's seeing of the image is closer to the visual observation of the sacred nature of gazing.This kind of seeing can not only be used as a reference for understanding the various secular seeing at present,but also can form a local knowledge of seeing,also carry out a dialogue between different viewing practices.Finally,Tibetans,as the main body of image rituals and interpretations of family halls,are not solid stereotypes.On the contrary,it is full of the initiative and diversity of the subject.In addition to the dominant religious principles,they also use their own experience to interpret and activate the images in front of them,give them a personalized interpretation of meaning,which is the reproducer of the image meaning of the Buddhist hall. |
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