自于道泉（1901-1992）於1930年發表英漢雙譯〈第六代達賴喇嘛倉央嘉措情歌〉後，倉央嘉措（1683-1706?）其人其詩漸在漢地膾炙人口。1939年2月，供職西康蒙藏委員會的曾緘（1892-1968）以于譯為本，用七絕體悉數改譯，譯畢又以七古體撰成長達174句的〈布達拉宮辭〉，與譯詩一併發表於《康導月刊》第1卷第8期。時至今日，〈布達拉宮辭〉受歡迎的程度視乎曾緘譯詩似有不及。卻畢竟是漢地最早為倉央嘉措塑造文學形象的作品之一。透過譯詩工作的文化累積，曾緘創作〈布達拉宮辭〉時，對倉央嘉措的認知與詮釋自有一定深度。職是之故，本文嘗試探討〈布達拉宮辭〉的創作始末，即曾氏對倉央嘉措的人物形塑，以見這位僧王其人其詩在漢地所接受的情況。

Tsangyang Gyatso, also known as the Sixth Dalai Lama (1683-1706?), had a double identity of a spiritual leader and a love song writer in Tibet. Translated into Chinese and English by Yu Daoquan (1901-1992) for the first time in 1930, his love songs have ever since become more and more popular among the Han Chinese. In February 1939, Zeng Jian (1892-1968) published his retranslated version based on Yu’s edition, together with “Bu Da La Gong Ci,” a classical-style long poem lamenting over the story of Tsangyang. Today, though “Bu Da La Gong Ci” seems to be less popular than Zeng’s retranslated version of love songs, the former is one of the earliest works in Chinese to fashion the literary image of Tsangyang after all. Through the cultural accumulation of poetry translation, Zeng Jian had a certain depth of understanding and interpretation of Tsangyang when he created “Bu Da La Gong Ci.” Accordingly, this article explores the creation of “Bu Da La Gong Ci” and its fashioning of Tsangyang Gyatso’s literary image, in order to shed some light on the reception history of this legendary Tibetan monk and his love songs in the Sinophone world.