Research Of The First Jibzundamba Hutugtu Zanabazar’s Works Of Plastic Art

The first Jibzundamba Hutugtu Zanabazar, who lived during17th to18th century, was a Mongolian famous scholar, historian, and outstanding sculptor, painter, architect, Buddhist scholar, translator and politician. Not only he influenced Mongolian literature, Buddhism, historiography and politic history, Zanabazar also occupied important position in the history of plastic arts. His artistic accomplishments and talent are reflected in sculptures and paintings, which have become masterpieces of Mongolian plastic arts and plastic arts field of the world.The abstract clarifies the topic-selecting motivation, research actuality, research values and research approach. The first chapter includes narrations of Zanabazar’s extraction and artistic creation profession. In the second chapter, Zanabazar’s works are classified and studied to summarize their structural characteristics, artistic conception and metric principles. Zanabazar’s master works can be divided into two kinds:sculptures and paintings. For sculptures, which mainly contain sitting Buddha statues, standing Buddha statues, pagodas, of which the structure, artistic conception and metric method show an unique national characters, and Zanabazar created and applied a metric principle very similar to golden ratio method. These characteristics are concluded after analyzing the face and body ratio of Green Tara, one of Zanabazar’s master works. For paintings, the creation structure, artistic conception and color were analyzed to expound the differences between Buddha images created by Zanabazar and Tibetan Buddha images, and to reveal the unique national style of Zanabazar’s works. In the third chapter, aesthetic values of Zanabazar’s works are evaluated and his aesthetics are concluded, all by using the artistic aesthetic theories and standards that Zanabazar persisted:the thirty-two excellent signs, eighty exemplary features, Mongolian traditional aesthetic standard the Twenty-one Signs of Perfect Women and Mongolian traditional numeric aesthetic. In the fourth chapter, Zanabazar’s great contribution to Mongolian plastic arts, Buddhism art and the development world plastic arts are evaluated.