A Comparative Study Of The Style Evolution Of Traditional Tibetan Paintings In Wei-Zang, Kham And Regong

Central Tibet, Kham and Regong-the three areas' Tibetan traditionalpainting art is the important part of the Tibetan traditional painting. Thethree areas' painting style shows different changes from the historicalinheritance, such as a large of common homologous, different style of thegenre caused by the natural geographical factors, humanistic environmentfactor, political and economic factors and religious sect of factors formedin the development. According to the research on the Tibetan traditionalpainting form, we can fatherly understand the diversity and culturalcharacteristics of traditional Tibetan art and help us to enhance ourunderstanding of Tibetan culture art'treasure trove.The paper compared the style evolution of the central Tibet, Khamand Regong-the three areas'Tibetan traditional painting. It is divided intofive parts: introduction and internal three parts and the conclusion:The chapter one is introduction and mainly discusses the purposeand the significance of the thesis, research situation of the Tibetantraditional painting style and genre at home and abroad, research method,idea and the innovation points of the research.The chapter two summarizes Central Tibet, Kham and Regong-thethree areas'Tibetan traditional painting style and genre. Starting from thecore concept definition, the writer makes definitions of the three areas' geography scope and the style schools. Moreover, the writer respectivelyexplores the rising, development and the maturity of the three areas'traditional painting style and genre.The third chapter compares the relation among central Tibet, Khamand Regong-the three areas' traditional painting style evolution Thischapter is divided into three parts: the firs part compares he similaritiesand differences of the central Tibet and Kham-the two areas' traditionalpainting style, based on the layout of the form and typical works; thesecond part compares he similarities and differences of Kham andRegong-the two areas' traditional painting style; the third part compareshe similarities and differences of the Kham and Regong-the two areas'traditional painting style.The fourth chapter briefly summarizes the developing situation ofcentral Tibet, Kham and Regong-the three areas' Tibetan traditionalpainting, in order that the three areas' traditional painting can play therole of inheritance and development.The last chapter is conclusion, which is deepening and summarizedof the full text.The paper firstly elaborates and compares the central Tibet, Khamand Regong-the three areas' style and genre evolution and developmentof the Tibetan traditional painting in more comprehensive an systematicway. The whole paper explore the three areas'similarities and differences and fatherly put forwards the rich cultural connotation of the Tibetantraditional painting from the perspectives of art image study, history,ethnology and other disciplines and from the vertical and lateral twoaspects.