Study On The Painting Technique And Aesthetic Connotation Of Regong Thangka

Regong thangka is an ancient art form that focuses on the use of artistic language to practice religious ideas and construct a sacred and secular society.Its distinctive religious color,strong national characteristics and unique artistic style are not only the product of the integration of the specific society,history and culture of the Tibetan people in qinghai,but also the concentrated reflection of the aesthetic activities and tastes of the Tibetan people.After a hundred years of artistic inheritance,reagon art has made brilliant and remarkable achievements.In 2006,it was included in the national intangible cultural heritage protection list,and in 2009,it was included in the UNESCO world representative list of intangible cultural heritage of mankind.In history,regong thangka,experiencing from Buddha hall of religiousitems to the transition of the museum of fine arts,the art form in the drawing technique on the aesthetic value,cultural heritage,more mature.Now,how to return to ontology research regong thangka paintings of art modelling,the artistic characteristics of the intangible cultural heritage of incisively and vividly,and rise to the level of aesthetic study,become the author tries to explore a topic.West with the teacher as a case study based on the long object,using field research method,combination of Hohhot,and qinghai point survey from the regong thangka,historical origin,process flow,artistic features and aesthetic thoughts to detail,from the surface of the art form into the cultural connotation of research,from the artistic image to the aesthetic concept of thinking,in order to complete the logical chain on the development of regong thangka,look for the reader and the research results of the system.This paper is divided into three parts.The first part is the introduction,focusing on the reasons and significance of this paper,research status and purpose,research innovation and methods,and a detailed description of the literature review in this field.The second part is the body part of the article.Based on the previous literature research and detailedfield investigation,it extends from the drawing skills and artistic features of regong thangka to the discussion of the aesthetic thoughts and cultural connotations contained in religious images.The main body is divided into four chapters:the first chapter analyzes and studies the historical origin and development process of regong thangka by using theories related to history,ethnology and religion,and elaborates on the initial spread of regong thangka in Mongolia and its development since then.The second chapter takes the field investigation results as the cornerstone,takes master jiuxijia as the object of case study,comprehensively and meticulously narrates the technological process and the production of drawing tools of regong thangka,and explains the religious significance of decoration,hiding and lighting.The third chapter focuses on the artistic characteristics of the images of the sacred realm,and elaborates on the influencing factors of such characteristics,such as dunhuang frescoes,green mountains and rivers,and traditional Chinese aesthetic thoughts.The fourth chapter,supported by Hegel's aesthetic thought,interprets the artistic ideals contained in the holy thangka from the perspectives of ideal beauty,style beauty and sublime beauty,and analyzes the development and changes of theexistence of reggong thangka in cultural significance,so as to expand the in-depth academic thinking on the basis of previous studies.The third part is the conclusion of the thesis,which summarizes the research content and research ideas of regong thangka on the whole,and based on the analysis of the current situation of regong thangka art,prospects the future development trend of the new generation of "wandering monk" represented by master jiuxijia.