【Establishment of the Tubo Dynasty】
Around the 9th century BC, the kingdom entered the reign of King Yalong. The first tubo king, Nie Qi, was born, Zangpu, meaning "strong man", and it is said that Zampu was born in a place called "Povo". In the 7th century AD, the 33rd generation of Zampu Songtsang Gampo (617-650) took the throne, successively annexed and surrendered the Tabu, Gongbu, Niangruo, Yangtong, Subi and other tribes, unified the Qinghai-Tibet Plateau, fixed the capital Oflao (Lhasa), and established the first slave regime in Tibet, the Tubo Dynasty.
The establishment of the Tubo Dynasty marked that Tibet and even the entire Qinghai-Tibet Plateau had entered a new historical stage. In 634 AD, Songtsen Gampo welcomed Princess Mud Brahma Chizun into Tibet to become a relative, and the princess entered Tibet with the statues of Shakyamuni Immovable Vajra and Tara. In 636, Songzan Gampo sent Gar, Lu Dongzan and three others to Chang'an, Han Province, with heavy gifts, to marry Princess Wencheng, the chambermaid of the Tang Dynasty, into Tibet. The Tang Dynasty court painter Yan Liben specially drew the bee scroll silk painting "Step Map" for this purpose, and truly recorded this historical scene According to historical records: "Princess Wencheng firmly believed in Buddhism, and entered Tibet with a statue of Shakya at the age of twelve, three hundred and sixty classics, and sixty kinds of craftsmanship works..." And successively built the Jokhang Temple and the Jokhang Temple in Lhasa to enshrine the Buddha statues brought by the two princesses. With the entry of Princess Wencheng into Tibet, Han literature, art, medicine, calendar, agriculture, etc., especially Buddhism, were also introduced to Tibet. Later, there was the Tang Dynasty Princess Jincheng into Tibet, and the two sides will ally, agree not to invade each other, and set up a "Tang Dynasty Alliance Monument" in front of the Jokhang Temple. "In the middle of the 8th century AD, the thirty-eighth generation of Zampu Chisong Detsen (742-788) invited the famous Buddhist monks Shantideva and Lotus Master from India to Tibet to teach the Dharma, and built the first temple in Tibetan history, Samye Monastery, on the banks of the Yalong River, and also shaved seven Tubo noble disciples to call them the Seven Enlightened Scholars, thus establishing a base for the spread of Buddhism. As one of the important tools for the spread of Tibetan Buddhism, thangka art was produced in such a historical background and humanistic environment.
However, due to the continuous war and the struggle for power within Tibet, especially the extermination of Buddhism by the 41st generation of Zampurang Damma in the 10th century, Tibetan Buddhist art was seriously destroyed and the Thangka of the Tubo period was burned down in Tibet. However, as a painting art of the same period, we can understand the paintings of the Tubo period from the murals of the Jokhang Temple, which were built in the 7th century, the paintings and cloth paintings of the Tubo period during the Tubo occupation of Dunhuang (761-848), and the Guolimu Tubo coffin paintings excavated from Qinghai.
【Sakya Regime and National Unification】
After the 10th century, Tibetan Buddhism was revived through "shanglu propagation" and "lower road propagation", and developed rapidly in a burning trend, and monks also gained a higher social status. At this time, the social form of feudal serfdom in Tibet was established, and new secular lords emerged. At the end of the 12th century and the beginning of the 13th century, the rudiments of theocracy were formed, forming many local forces that combined monks and laymen, among which the Kun family, a descendant of the Tubo royal family, was the most powerful, and the Kun family passed down to the tenth generation of Kun Gong And jiebo after several turns, and finally moved to Yalongwei (present-day Sakya District, Sakya County) to settle down. "At the beginning of the 13th century, a Mongol tribe led by Genghis Khan arose, unified the Central Plains by force, and carried out military expansion into Tibet. In order to rule Tibet, in 1244 Genghis Khan's grandson Kuoduan sent emissaries to welcome the most prestigious Sakya ancestor of Tibet, Sampan, to Liangzhou (present-day Wuwei, Gansu). In 1247, at the age of 55, Saban wrote a second "Letter to the People" to the leaders of the upper echelons of the Weizang monks, and finally persuaded Tibet to submit to the Mongols. In 1260, Kublai Khan proclaimed himself emperor and made Bashipa the state teacher, and in 1264 he formally established the local government of Tibet with Sakya as the core. It was placed under the administrative jurisdiction of the Yuan Dynasty, and Thus Tibet was officially incorporated into the territory of the motherland.
【Friendship with central plains culture】
The Sakya sect is one of the most important sects of Tibetan Buddhism, and due to the close relationship between the Sakya regime and the central government of the Yuan Dynasty, the sphere of influence not only extended to the entire Weizang region, but also strengthened the frequent exchanges with the Central Plains culture and Nepalese art, resulting in the comprehensive revival of Tibetan Buddhism and Buddhist art in the post-Hong period and the wider spread. At the same time, it has also injected fresh blood into the progress of Tibetan society and the diversified development of art. As a leading figure in Tibetan Buddhism in this regard, Sakya Gonggar Gyaltsen, Ba Si Pa and the famous artist Anigo from Nepal are outstanding representatives.
At the end of the Yuan Dynasty, the Pamuzhupa regime in Shannan arose and replaced the Sakya regime as the new local government that controlled most of Tibet, and this period is known in Tibetan history as the Pamuzhupa period (15th century to 16th century), corresponding in time to the Ming Dynasty. The Ming Dynasty implemented a new policy of "dividing the seals and building more" for the administration of Tibet. During his reign, Ming Chengzu canonized Tibet with the three great kings, the five great masters, and the ten great Zen masters, involving different sects such as Gelug, Kagyu, Sakya, Nyingma and other sects and vast regions, especially the Gelug school founded by Tsongkhapa (1357-1419) on the basis of inheriting the teachings of the Kadampa school.
In this historical stage, tibetan painting art has carried out bold exploration, development, reform and innovation on the basis of inheriting the diversified art of the Sakya period, and successively created two mainstream painting schools of "Mian Tang" and "Qinze" in central Tibet, and extended to eastern Tibet and created the "Karma Gazi" school of Tibetan and Chinese art integration, resulting in Tibetan Thangka art gradually separating from the nests of India, Nepal and Polo and entering a period of transformation, parallel to other painting styles. He began to create a painting style with diversified Tibetan characteristics with his own artistic language and aesthetic approach. This is particularly evident in the Weizang area, which is not only lively and open in the pattern, but also presents an unprecedented green landscape and human figure; in Houzang Jiangzi, Tibetan decorative paintings represented by the murals of Baiju Temple were created; and the guge mural art in the west, after more than 400 years of silence, with the development of Buddhism and the intervention of the Gelug sect, has re-emerged, and continued to advance in the original way, and has achieved a brilliant achievement in the history of Tibetan painting.
【Revival of Guge Painting Art】
The art of Guge painting was produced during the period of classification and division of the Tubo Dynasty, which was the starlight that shone in the black night sky where Buddhism was tragically destroyed.
After the 15th century, with the revival of Tibetan Buddhism, the descendants of the Gelug sect expanded the scale on the basis of the Guge Palace and the Torin Monastery and painted a large number of murals of various themes on the basis of the original murals: Among them, it can be said that the various goddesses portrayed in the Guge murals are the most abundant, the most diverse and the most exaggerated works of Tibetan painting art, and they have influenced each other with Weizang and Dongzang paintings, and the offering goddesses painted on the red wall of the tantric hall on the second floor of the former Gongga Monastery in Tibet. A group of Vajra dancers in the Main Hall of Sanga Guzhu Dukang are exactly the same.
The early Tubo style bodhisattva has a very full face, a slightly longer chin, and a white fish belly shape closer to the eyes, which is a great contrast with the brown skin. Its charm is close to that of the deities in the ancient Indian Ajanta murals. Polo style paintings are thick and full of color, and have a strong sense of volume. The Tibetan diamond pattern along the upper edge and the ancient Indian dress style form a Polo art style with a Tibetan flavor. From 797 to 846, due to the long-term scourge of war in Tibet, coupled with the internal strife and chaos within the dynasty, the Tubo Dynasty went into decline. In particular, in 843, the campaign to exterminate buddhism carried out by the forty-first generation zampurang Dharma made the monks in a terrible situation, and fled to other places, or were forced to return to the world, or abandoned the Buddha to benzene, took the Bon Dharma drum, went to participate in the Bon ceremony, and did what the monks absolutely prohibited, thus dealing a devastating blow to the Buddhist Buddha, the Dharma, and the Three Jewels of the Monks, resulting in the spread of Buddhist culture including thangka murals in Tibet was interrupted, and the Tubo Dynasty completely collapsed in 877, which entered a "dark period" of more than 100 years. The descendants of the Zampu royal family fled in all directions, and the local forces showed a situation of division and division, establishing many local governments in Amdo, Kham and Weizang. The descendants of the Tubo Dynasty, Jid nymagun, followed the Brahmaputra River up the Brahmaputra River to Ali, the birthplace of the ancient Zhang-zhung civilization, and successively established three small state regimes of the Kingdom of Ladakh, the Kingdom of Pulan and the Kingdom of Sanga, with three sons: the eldest son Baijiri Paogong, the second son Chizha Saigon, and the youngest son Dezugong, each in charge of their own territory. Therefore, it was called "Ali Sanwei", and later the third son Dezugong succeeded his father to establish the Guge Kingdom in the territory of Zada County, becoming the most powerful small state regime. However, at that time, although the Ali region received some teachings of tantric mantras, they behaved misbehavably, far from the emptiness of samadhi, and many gross and evil methods that did not conform to the teachings occurred. Therefore, at the initiative of King Yeshewo (959-1036), two things were recorded in history for the revival of Buddhism in order to "purify the right path and eliminate his evil deeds". First, he invited the Indian monk Atisha (982-1054) to Tibet to teach the Dharma, and in 1043 Atisha came to Ali via Nepal, but Yeshewo had died, and met with the king's nephew Zogquwo and the famous great translator Rinchen Sampo at Torin Monastery, and immersed himself in translating the tantric texts at Torin Monastery, teaching Buddhism for three years. The second was sent by the Guge royal family, the great translator Rinchen Sambu, born in Guge, who went to Kashmir, India and other places three times to study, and brought back various Buddhist classics, and also brought 32 artists from Kashmir to Ali to make sculptures and murals in Torin Monastery, Tabo Monastery and Tibetan Buddhist monasteries in Ladakh, thus playing an important role in the construction of temples and the restoration of Buddhist art.
In the sixteenth century, the indigenous Tibetan painting system was established
Together with the Chinze School, the Mian Tang School brought a successful end to the Nepalese painting style, which has a strong Western style that has lasted for centuries, and Tibetan painting gradually changed in the direction of more Tibetan characteristics. The root causes of this transformation are mainly the need for localization and the closeness of Tibetan-Chinese relations. In the process of growing up, Tibetan painting art tends to be more in line with the aesthetic pursuit of the ethnic group. It is manifested in the transformation of the form from a flat iconographic composition to a three-dimensional layout, and the picture changes from sacred solemnity to intimate vulgarity. In terms of content, it is expressed as a situation in which local gods, dharma kings, and gurus coexist with foreign Buddhas and bodhisattvas.
The political relations between the Ming and Qing dynasties and Tibet were stable and friendly, and cultural exchanges were frequent, which was an external condition for the transformation of Tibetan painting styles. The Tibetan emperors and local forces called themselves Chennagong, and the Ming and Qing emperors petitioned for canonization, and the political relations were stable and friendly, which in turn promoted cultural and religious exchanges and mutual influences, so that the Central Plains art was widely accepted and disseminated in Tibet.
Next, please enjoy a group of bodhisattvas numbered 138-949938, the Great Trend of the Nepali School:
