Diqing Tibetan Thangka Arts Of

Thang-ga originates from an ancient art style in the Songzain Gambo period. "Thang" in Tibetan means flat narrow open volume, "ga" means shrines. The scroll painting mounted with color fabric is called Thang-ga painting. Thang-ga could be considered as a flat shrine, which tries to achieve the multi-dimensional mind in the two-dimensional perspective, and provides more mediation effect than the aesthetic function. It is because it has the same spirit role with the portable mini shrine "Kawu" that Thang-ga is also called "portable temple". Originated from Tibetan Buddhism culture, Thang-ga is the miniature and window of the Tibetan culture, art and religion.Tibetan Thang-ga has generated a huge impact in today's modern society. Not only inherited among Tibetan believers, it also goes to mainland China and becomes the favorite minority folk art as the spread of Tibetan Buddhism. In many regions abroad, individuals and even groups have spung up to study Thang-ga and Tibetan culture art. A lot of Thang-ga works have been collected by major domestic and foreign museums, as well as the private collectors who are in the obsession with Tibetan culture and art. Thang-ga collect market continues to heat up. What kind of a force is it that makes Tibetan Thang-ga art spread among the crowd, and receive the widespread concern and acceptance? During the spread period, what kind of effect will be brought to Thang-ga art by integration, evolution, distortion, variation? Though the in-depth research in Diqing Tibetan areas of Yunnan province and reading a large number of literatures, this paper studies the art of Tibetan Thang-ga art and its dissemination. Firstly this work will discuss the Thang-ga features through the following aspects:functions and meanings, collection of the tradition cultural symbols, professional invention relying on sects, mystification of color painting, and the connotations of Thang-ga art. Traditional Tibetan culture, Buddhism culture and the art of painting are basis to understand Tibetan Thang-ga art. To accurately interpret Thang-ga, it is necessary to accumulate knowledge of these three areas. Secondly, this article will consider Thang-ga as a medium, present a definition of media perception in Thang-ga painting techniques, and describe the drawing skills from the Tibetan Thang-ga layout, shape, colors, process, and several other aspects. Finally, this paper will discuss Thang-ga's spread form in both tradition and modern ways, focusing on two aspects:the evolution during spreading and the spread's influence on the Thang-ga art. The study of Thang-ga art will be performed in the environment of art spreading process, which could achieve a better interpretation of the relationship between Thang-ga art and its spreading.Through the study of Tibetan Thang-ga art and its spread, we could make a better inheriting and carrying forward the great art value of Thang-ga. This paper also contribute to arouse the concern about the integration, evolution, distortion and variation of Thang-ga art during spreading and its influence on the Thang-ga, aiming at helping Thang-ga art, In particular, of Diqing Tibetan in Yunnan one of the intangible cultural heritages, achieve effective spread and the sustainable development.