Reconstruction Of The Temptation Of The Tibetan Culture And Art

Tibetan culture is an important part of the Chinese Multinational cultures, in ther ancient history; Tibetan culture and Han culture have keeped close communication and interaction. Marking by the rise and development of the theme paintings of Tibet, Tibet and the Chinese art had an unprecedented interaction. The Tibet theme painting is an important artistic phenomenon and traditions in the history of the 20th century's Chinese painting arts. With its unique natural landscape and great cultural charm, Tibetan culture continues to attract Chinese artists to come and explore contemporary issues and personal creative arts. Chinese artists'artistic practices and explores in different historical periods play a dual role in promoting the Tibetan local art and contemporary Chinese art. In the history of the 20th century Chinese arts, there have generally appeared three times waves of the Chinese mainland artists traveling to Tibet, Since the 1940s. In the third wave of the New period, A prominent phenomenon is that A group of artists appear who are Born in mainland China and living in Tibet for long time. The most striking feature of the group of artists is that they have rediscovered the value of the Tibetan culture itself, with researching and communicating it in artistic ways.As the typical one of the group of the artists in Tibet, Hanshuli is worthy being studied. Han Shuli voluntarily transferred to Tibet in 1973. in 1983,After graduating from Central Academy of Fine Arts,He had once again returned to Tibet, still working there until now. In the Cultural inheritance, with maternal genes of Han culture, Han Shuli joins into the ranks of Tibetan culture. Through many years of study of the traditional Tibetan cultures and arts, He has profoundly grasped the essence of Tibetan culture, and formed the double genes of the Han culture and Tibetan culture. In the artistic creation, Han Shuli has been always absorbing nutrients from the two cultural traditions and reconstructing his personalized Art style. He has gradually formed his unique art style. He has maked an important contribution to the modern development of the Chinese painting.Besides, as the Organizers of the Tibet art activities, Han Shuli leaded the local artists of Tibet to carry out comprehensive systematic and academic study of the Tibetan traditional arts.By these Practices, They not only makes numerous scattered Tibetan folk art treasures to reproduce its great cultural value, but also find the cultural roots For the development of modern art in Tibet Simultaneously, Han Shuli also paid great attention to training local Tibetan artists and promoting the contemporary art in Tibet. Since the 1980s there are a group of artists gradually forming around HanShuLi, with similar pursuit of painter. This is a creative team with the Tibetan artist as the main artists and including the other national artists.Basing on the basis of Tibetan cultural identity, the group has tried to explore to construct the modern art styles with the Tibetan cultural subjectivity by integrating the Central Plains Han culture and modern culture. And gradually developing a common style-painting on the Linen or the Cotton cloth with meticulous color.As present, the historical, systemic, special study for Hanshuli's Artistic practices and achievements is still blank. In this paper, Han Shuli's case study as the starting point,To try to Study of Han Shuli and his groups created by integration of Tibet and Tibetan arts artist painting modern art tradition of self-positioning of reconstruction To the 20th century, Tibet and China, the development of interaction between art and modern art in Tibet historical context of the development of the double Integration of traditional Tibetan art and Han art in the modern art of self-positioning of reconstruction...and to discuss of the historical position of Han-Shuli in the development of interaction between Tibetan culture and the 20th century Chinese arts. At the same time, also hope to provide a reference and enlightenment for the practical problem How to construct the Chinese modern art with a cultural subjectivity in the current globalization and multi-cultural context.