Tranditional Tibetan Figural Painting In Perspective Of The In Sino-tibetan Biddhist Art

Portrait is an eternal theme of expression in human art.According to historical records,the production of portrait paintings appeared in China as early as the Shang Dynasty.As an important part of Chinese art,Tibetan art has a long history.Legend has it that the term “painting” in Tibetan is derived from portraits painting.With the in-depth influence of Buddhism in Tibetan society,Tibetan art began to focus on Buddhist themes,covering Buddha,Bodhisattva,Protector of Dharma,btsan-po,concubines,eminent monks and great virtues.This article takes the portraits of Tibetan monks in the Yuan and Ming dynasties as the core of the research.Unlike Buddhas,Bodhisattvas,and protectors,the monks are real figures in Tibetan history and those who have had an important influence on the history of Tibet,which are reflected in paintings.Above,the portrait of the eminent monks are the most exciting chapter in the history of Tibetan art and has its unique humanistic value.This article analyzes and explores the social background,style evolution,and the formal language of the paintings of Tibetan monks portraits through art sociology,iconography,stylistics and other research methods,and tries to explore the ethnization and localization of Tibetan art through the development and evolution of monks portraits.The comparison of the art forms of portraits of eminent monks in Sino-Tibetan paintings can reflect the cultural identity;in addition,the portraits of eminent monks as the outstanding traditional culture of the Chinese nation also have important inspiration for today's artistic creation.The full text is divided into five chapters,the first chapter contains two aspects.First of all,through the literature and physical remains to sort out the portraits of the Tubo period,aiming to show that although Buddhism developed in Tibet during the Tubo period,the behavior of painting portraits was common in the activities of Bon and Buddhism,and the objects of expression were also Mainly btsan-po,concubines,and royal family members,portrait of the eminent monks were only in the budding state during the Tubo period.Secondly,it discusses the basic characteristics of the portraits of Tibetan monks in the early 11 th to 13 th centuries.With the revival of Buddhism in Tibet in the middle of the 10 th century,Buddhism began to be widely believed in Tibet.At the same time,various sects of Tibetan Buddhism also emerged.As the main body of the revival and spread of Tibetan Buddhism,the eminent monk has gradually become one of the main objects of painting and sculpture,and the development and inheritance of sects can also be clearly expressed in the portraits of eminent monks.The basic forms of portraits of Tibetan eminent monks in the early 11 th and 13 th centuries were: Single portrait,Double pair sitting portrait,Shared portrait,lineages and biographical portraits of eminent hierarchs,as well as eminent monks with portraits of Bodhisattva attendants.The development of portraits of eminent monks in this period laid the foundation for the prosperity of portraits in Tibet during the Yuan and Ming dynasties.Chapters 2 to 4 are the central content of the thesis.Although the portraits of Tibetan eminent monks from the mid-13 th century to the mid-17 th century continued the painting styles of India and Nepal,the elements of Chinese painting also entered Tibetan painting on a large scale.After the founding of the Ming Dynasty,the central government adopted the policy of “Rewarded many hierarchs,they established” for Tibet.The political,economic,and cultural exchanges between Sino-Tibetan were unprecedentedly prosperous,and a number of important monasteries in Tibet were also established in the Ming Dynasty.Such as Gyantse d Pal vkhor chos sde,Tashilhunpo Monastery,Gong-dkar r Do-rje,Ganden Monastery,etc.At the same time,the famous painting masters in the history of Tibetan art appeared " blowout development ".These masters are no longer satisfied with the existing painting styles.Go deeper and further on the road of ethnization and localization of Tibetan art.Represented in portraits of eminent monks,such as the portraits of eminent monks in the Auspicious Multi-gate Pagoda of Gyantse d Pal vkhor chos sde.Although the composition is still in the form of India and Nepal,the modeling has been separated from the general modeling methods of Indian p?la style and Nepal style.The character's face depiction embodies delicate and realistic features,emphasizing the character's image characteristics(age,personality,ethnic identity,etc.)It can be said that the Gyantse style represented by Baiju Temple has taken a solid step in the process of localization.Subsequently,the s Man ris style founded by s Man bla don grub and the m Khyen-brtse's Style initiated by m Khyen rtse chen mo more fully embodies the ethnization and localization of Tibetan art.The picture can be seen from the existing works of the s Man ris style hierarchs.The overall style is a neat brushwork,presenting an overall atmosphere of dignity,elegance,tranquility,kindness,and beauty.The figures are more rounded,and the clouds and flowers are more realistic.Different from the s Man ris style of Painting,the m Khyen-brtse's Style gives people a sense of liveliness and agility,full of freehand drawing atmosphere,with a sense of lively and rising rhythm,but in the composition of the portraits of the eminent monks,although the lineage inheritance follows p?la and Nepal style,The "internal and external" style composition is no longer the obvious "?" shape.In terms of character modeling,the m Khyen-brtse's Style abandoned or weakened the local realism of the head,and emphasized the realism of the monk as a whole.In the 16 th century,the s Gar-bris style of painting has absorbed more Chinese paintings in terms of composition,color and shape.In addition to the traditional central composition,the angled composition is also a popular style in the portraits of the eminent monks of the s Gar-bris style.This composition comes directly from the Han Arhat painting style.The portraits of eminent monks in the painting style of western Tibet formed a regional and mixed style in the 15 th and 16 th centuries.Chapter 5 discusses two cases in the development of portraits of eminent monks in later generations.First,it explores the image of eminent monks in historical paintings from the Qing Dynasty to modern times.On the basis of the continuation of the seated form of the Vpags-pa and Kublai murals in the Baiju Temple,different layouts and different styling features of the portraits of Tibetan eminent monks are discussed.Second,after the introduction of photography and Western realistic painting techniques to Tibet,Tibetan artists represented by Gendün Ch?phel and Amdo Jamp explored a new way of painting by learning Western realistic painting techniques or copying photos.This kind of exploration is particularly prominent in portraits of eminent monks.In the middle of the Qing Dynasty,Tibetan paintings gradually became stylized.The individual characteristics of eminent monks portraits were gradually replaced by standard styles,and their forms were relatively fixed.Therefore,this spirit of exploration is important for portraits of Tibetan eminent hierarchs and Tibetan fine arts.The significance is worthy of recognition.