The Research Of Inheritance And Development On Handicraft Of Thangka In The Perspective Of Symbolic Consumption

Since the 1980 s,along with emerging and rise of the electronic technologies,information industry and the third industrial revolution,of which the mass media presents as a representative,the human society entered the era of the consumer society.The feature of a consumer society is that the behavior of consuming not only focus on the acquisition of the items,but more to emphasis on the need and purpose of the manipulation of the symbolism.Such systematic behavior of the manipulation of the symbolism is named symbolic consumption,its purpose is to realise one's value,cultural identity and existence meaning in a social network through consumption.The main value of the symbolic consumption is the symbolic value,which means if an item or a commodity is consumed as a symbolic consumption,the relevant pricin g does not depend on the prime cost or labor cost,but the social value,cultural value,and other factors that it symbolises.As the symbolic value occupies the dominant position,consumption is no longer based on the use value,and no longer a pure economic behavior,as a symbolic cultural behavior.This article focuses on the symbolic value of content production and implementation of thangka technology in consumption situation of the impact of the inheritage and development.Traditional thangka as multiplier of spiritual practice and worship holy things,the externalization of itself is a kind of religious culture symbolism,the completion of it mainly relies on the temple monks and painters,while the consumers mainly are believers.Such exchange complet es after the painters finish their piece,and gradually developed into a providing relationship between the providers and the painters.In the religious logic,the value of a thangka is priceless.Since the 1980 s,as the nation focus on economic development,there appears a large number of thangka businessmen and thangka companies,and thangka started to be sold at a marked price as ethnic handicrafts,tourist souvenirs.In order to expand the thangka art market,thangka companies no longer just targeted at the buddhist believers as their customer,but started to invest into nurturing the mass majority to become their potential consumers.Thangka in art in circulation of economic market,after thangka company using mass media and advertising operation on the symbol.By the previous religious culture value gradually developed into a blessing for aesthetic,collection,investment,such as multiple symbolic value.Diqing shangri-la in yunnan province,the " Shambhala kingdom in the dream" not only attracts people from all over the world,but also attracts Thangka painter from the Tibetan areas to expand the market,and creatively apply the concept of symbol consumption to the inheritance and development of Thangka technology.This article,based on the operation and development of " shangri-la Thangka painting academy" founded by Regong painter ge sang in shangri-la,cloud Tibetan autonomous prefecture,as a field case,try to understand the Thangka technology in the consumption context,due to the different demands of the public consumers,how to innovate and change the Thangka technology practice;At the same time,pay attention to the use of various cultural symbols of Thangka in the exchange process and the different connotation and significance of Thangka itself in the process of cultural reproduction;Finally reflect on the intervention of the consumer market,the continuation and innovation of Thangka and the future of Thangka inheritance and development.This article is composed of introduction,four chapters and conclusion.The introduction part mainly introduces the origin and significance of the research,from the anthropology on the symbol consumption theory,anthropology competitors process symbol consumption research,anthropology to Thangka consumption literature review,and combine the field situation to explain in this paper the theoretical perspective and research method.The first chapter mainly elaborates on the inheritance history and development status of Thangka art in shangri-la,and makes a preliminary study on " shangri-la Thangka painting academy" to understand its business model and idea.The second chapter mainly reveals that in order to meet the purchase demand of contemporary consumers,Thangka from the traditional painting to modern painting process of the process of change and innovation.The third chapter mainly tells the Thangka in the exchange process,through the painter(sales)using the mass media and advertising to the symbolic operation,and the interaction and interaction with the consumer groups,the significance of Thangka reproduction and reuse.The fourth chapter reflects on the consumer society,how to realize the inheritance and development of Thangka technology through continuation and innovation.Through the above discussed,this research preliminary get the following conclusion:In the market environment dominated by consumption culture,especially in shangri-la,such a special cultural tourism destination,symbol consumption has become one of the new paths of inheritance and development of modern handicraft of Thangka.The Thangka painter in shangri-la Thangka painting academy in the game between himself and the consumer market,facing different audience groups,under the premise of choosing to adhere to the traditional painting principle of Thangka technology,with innovative methods to change the Thangka process,the artistic and aesthetic of Thangka are constantly enhanced,and the form of expression is more diversified;In the process of exchange and circulation,Thangka through media communication and consumption interaction,with the participation of painter,consumer,government,scholar,social celebrity and so on,its own religious significance and cultural value gradually been endowed with more aesthetic value,economic value and collection value,so that Thangka become a carrier to express the logic of multiple meanings.