On The Protection And Inheritance Of Thangka Art From The Comparative Study In The Qing Dynastydhritarastra And Modern The Four Arms Avalokitesvara

Thangka isnot only a kind of religiousitem but also an art form,mainly considered as a kind of religious worship rather than anart work.Thangka’s painting and materials,procedures and forms have astrict religious meaning.With the changes oftimes and cultural environment,Thangka plays different rolesin different culturalenvironment.As a kind of artwork and cultural relics,Thangka is also faced with the issues of being protected and inherited.The Palace Museum has been collected more than 2000 of Thangka,major works is the Ming and Qing Dynasties.Thangka of the Ming and Qing dynasties is the result of the cultural exchange betweenthe central government of Ming and Qing dynasties dynasty and Tibet,Qinghai,Mongolia and other places.At the same time,they reflect the changes in the history of Tibetan Buddhism.Meanwhile,modern thangka embodies the cultural heritage.They also reflect the changes of art and culture.At present,the Ming and Qing Dynasties of thangka has been diseased due to ages.In this paper,the author based on the collection of the Palace Museum in Qing DynastyDhritarastra and Modern the Four Arms Avalokitesvara,compares the cultural significance and artistic skills of modern Thangka and the Qing dynasty ones,and analyze these two works from the images,the religious studies and the protection and restoration of cultural relics,trying to take these two works as the breakthrough point to discuss the art commonality and changes in the inheritance between ancient and modern thangka.It provides a reliable technical route for modern protection and restoration of Thangka in Ming and Qing dynasties.