{"id":6060,"date":"2019-11-15T12:21:05","date_gmt":"2019-11-15T12:21:05","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/tibetan-nationality-thangka-paintings-cang-zu-tang-ka\/"},"modified":"2019-11-15T12:21:05","modified_gmt":"2019-11-15T12:21:05","slug":"tibetan-nationality-thangka-paintings-cang-zu-tang-ka","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/de\/tibetan-nationality-thangka-paintings-cang-zu-tang-ka\/","title":{"rendered":"Tibetan Nationality Thangka Paintings \u85cf\u65cf\u5510\u5361"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
\u7c7b\u522b\uff1a\u6c11\u95f4\u7f8e\u672f
Category: Folk Arts
\u5730\u533a\uff1a\u56db\u5ddd\uff0c\u897f\u85cf
Region: Sichuan Province & Tibet
\u7f16\u53f7\uff1a\u2166-14
Ref. No.: \u2166-14
\u85cf\u65cf\u5510\u5361·\u52c9\u5510\u753b\u6d3e
Tibetan natio<\/em>nality thangka paintings·Manniang School
\u7533\u62a5\u5730\u533a\u6216\u5355\u4f4d\uff1a\u897f\u85cf\u81ea\u6cbb\u533a
Nominating unit[s]: Tibet Auto<\/em>nomous Region
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The Manniang School, popular in the Dbus Gtsang Region, has been the most influential school of Tibetan natio<\/em>nality Thangka paintings art since the 15th century. It was founded by Manla Thong Zhu, an artist born in the Luozha Manniang area, hence the name Manniang School. Manla Thong Zhu learnt his skills under the tutelage of Duoba Tashi. With hard work, Manla Thong Zhu made remarkable achievements in painting. He paid great attention to the drawing of lines. His paintings are elegant, smooth and bright and have different emphases. ba<\/em>sed on Jumaiba, he compiled the painting theory collection Painting Guide.
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The Manniang School was formed during the Zanpu Era and came to its peak in the Pazhu Era and Gandan Pozhang Era. However, it reached a turning period between 1949 and 1966. From 1966 on, this form of art gradually lost public attention. In response, local governments have tried hard to preserve the painting techniques since the 1980s but extra efforts are still needed.
\u85cf\u65cf\u5510\u5361·\u94a6\u6cfd\u753b\u6d3e
Tibetan natio<\/em>nality thangka paintings·ChenZher School
\u7533\u62a5\u5730\u533a\u6216\u5355\u4f4d\uff1a\u897f\u85cf\u81ea\u6cbb\u533a
Nominating unit[s]: Tibet
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Founded by ChenZher ChanMou, ChenZher School has been popular in gtsang Tsang and the Shannan Prefecture since the middle of the 15th century. ChenZher ChanMou developed an interest in painting at an early age and founded ChenZher School on the basis of Tibetan-Nepalese painting styles and the painting techniques of the Han people and Indians. The emergence of the ChenZher School and Manniang School soon replaced the Nepalese style paintings, which were o<\/em>nce very popular in the Dbus Gtsang Region. Similar to Tibetan-Nepalese painting, the ChenZher School also generally features a large Bodhisattva but in depicting natural scenery, it borrows certain elements from Han style paintings. This school is particularly good at portraying the fierce aspect of Buddha.
\u85cf\u65cf\u5510\u5361·\u5676\u739b\u560e\u5b5c\u753b\u6d3e
Tibetan natio<\/em>nality thangka paintings·Karzhi School
\u7533\u62a5\u5730\u533a\u6216\u5355\u4f4d\uff1a\u897f\u85cf\u81ea\u6cbb\u533a\uff0c\u56db\u5ddd\u7701\u7518\u5b5c\u85cf\u65cf\u81ea\u6cbb\u5dde
Nominating unit[s]: Tibet & Garzê Tibetan Auto<\/em>nomous Prefecture, Sichuan province
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The Karzhi School is one of the three major schools of Tibetan natio<\/em>nality thangka paintings (the other two are Manniang School and ChenZher School). It is popular in the eastern part of Tibetan-inhabited areas and centers on Garzê Tibetan Auto<\/em>nomous Prefecture, Sichuan province and Changdu, Tibet. It was founded by the Living Buddha Nanka Tashi in the 16th century and is also called the Gamagachi School or Gazi School.
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The Karzhi School is formed by combining a variety of styles. It is ba<\/em>sed on the bro<\/em>nze Buddha portraits from southern Asia and is also profoundly influenced by Manniang School. The theoretical foundations of this school were completed by Nanka Tashi’s contemporary, Living Buddha Karma Mikye Dorje. Later on, one of the masters of the Karzhi School borrowed traditio<\/em>nal Chinese painting’s unique styles and began to paint Thangka in an elaborate way, which means that the Karzhi School is closer to the style of Han Painting than the other two major schools. Since Nanka Tashi, two other masters of Karzhi painting have emerged: Queji Tashi, who is famous for his turquoise painting, and Gaxugama Tashi, who is renowned for his innovation in painting style. They two, together with Nanka Tashi, are known as the "Three Tashis" of Gazi School painting.
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After the "Three Tashis", more masters of Thangka painting emerged and some of their works are also regarded as model examples of the Karzhi School. The Karzhi School has a clear line of development and each stage is endowed with numerous masters. In the later years, due to the difference in regions and teachers, the styles within this school began to diverge, thus forming the "old Karzhi School" and the "new Karzhi School".
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The most distinctive feature of the Karzhi School is its heavy and vivid colors. Over the past centuries, this school has formed special techniques in making and using pigments. With the basic colors white, red, yellow, blue and green, painters can make 9 large, 32 medium and 158 small strains of hues. The use of a golden colour, one of the characteristics of Tibetan Buddhism painting, is regardeda sacrament for the Buddha. In the Karzhi School, unique skills are applied to produce liquid gold, spread and rub gold o<\/em>nto the painting, draw golden lines, carve and paint gold. The golden color is divided into more specific strains of hues and can be used to form different layers on a black background. In an area with a high co<\/em>ncentration of golden color, different lines can be carved with a particular kind of stone (it has a nickname of "line of gemstone").
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With its complicated painting procedures, delicate craftsmanship, high cost and tradition of oral transmission, Tibetan natio<\/em>nality thangka paintings are in an extinction crisis. In recent years, many folk painters have replaced traditio<\/em>nal pigments with synthetic o<\/em>nes for their lower cost, which gravely threatens traditio<\/em>nal Thangka art. Therefore, it is urgent to take measures to protect the Karzhi School of Tibetan natio<\/em>nality thangka paintings.<\/p>\n


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