Research On Classification Of The Artifacts Patterns In Tibetan Thangka Art

As the outstanding leader of Tibetan religious art, the Thanka art aggregates the wisdom and culture showed by the people in the whole snow-covered plateau and is an active epic. We realize that the research on the patterns of Tibetan Thangka art has been the most important basic work in national folk craft and religious art all the time. Adopted the historiography records in all ages of Tibetan Thangka art, and combined archaeological findings with a large number of entity image material in the large-scale domestic museums or the Thanka exhibitions,having a research on the patterns in the Tibetan Thangka, it is very helpful for the public comprehending the real connotation of Tibetan culture.Regard this topic; I take the patterns of the artifacts as the breaking through point and apply the external culture and internal skills of the artifacts patterns to summarize scientifically bidirectionally the classifying rules. Thus, I try to analyze various artifacts patterns to get the interpretation of the cultural connotation behind the patterns one by one. It covered all aspects of Tibetan social life.The article consists of three parts. In the first part, it is mainly stated the scientifically classification of the artifacts patterns in Thangka. First of all, it is given an accurate definition of artifacts patterns in Thangka art: divided into reference type and abstract type, the classification rules are summarized through the function, regularity, cultural connotation and other content expressed by the pattern; the second part mainly based on various classification properties of the artifacts patterns for specific graphic analysis:divided into offerings, musical instruments used in a Buddhist, auspicious patterns and so on.; not only analyze the structural symbols of artifacts patterns, but also introduce in detail the cultural evolution of pattern development. Thereby, the national characteristics of the studying subject itself are showed from various angles. It is introduced the meaning and connotation of the artifacts patterns in Thanka from the ethnic, social, religious cultural and other aspects. As a result, several thinking ideas related inheritance and development of Thangka art are provided in the third part.In the view of intercultural communication, the historical development of the artifacts patterns in Thangka also indicates the unavoidable trend of Tibetan culture blending outward. The adjustment of the aesthetic attitude of people has been relied on the cultural communication all the time. The natural and political factors of different periods determine the life of Tibetan people. They have shouldered the ethnic characteristics and race prosperities belong to the current times for a long time. Thereby, it is expressed in the drawing content of Thangka to achieve a high degree of unity of symbolic function in ethnic consciousness.