The Wind of Kings The Karma Gazi School of Painting
The Karmagazi school was founded in the second half of the 16th century by the living Buddha Namkha Tashi, known as the "incarnation" of the Eighth Karma Bamigudji (1507-1554).
The biggest feature of this school of painting is to break through the traditional mode of fixation and stylization, which is more liberating than the Mian and Qin schools of Weizang, but integrates a three-dimensional perspective painting method into the two-dimensional plane space, paying attention to the change of levels, the distance of distance, the Buddha, bodhisattva, arhat, especially the ancestors and monks of the lineage, often placed on the axis of one-third, leaving a large space for the storyline and the natural environment, so that the mountains, trees, flowers, and flowers are full of vitality; let the auspicious clouds and fog flutter at will, and the tropical, Subtropical and even Tibetan flowers and plants glacier snow peaks enter the picture. In the use of color, more with stone blue, stone green for dot dyeing, with transparent painting method to carry out excessive, so that the vision gradually disappeared into the sky, forming a dreamlike, magical and wonderful green world. In the use of lines, more changes have been given, such as drawing the faces of the characters with iron wire, drawing the robes with willow leaves, drawing trees with jujube cores, and using dry brush wrinkles on mountain stones. These artistic effects cannot be achieved in the painting styles of Mian Tang and Qin Ze, but they are expressed in the pen of the Kachi painter, and if the natural scenery is only a foil and decoration in the Mian Tang school, then in the Painting of The Kazi is an important part of the picture.
The founder of the Kachi school was the Living Buddha of Nanka Tashi, who is believed to be the reincarnation of the eighth Karmapa, but did not become the ninth Karmapa, but a person with the mission of drawing the image of the Buddha. From an early age, he studied from many painting masters, and even learned his painting style from the Mian Tang master Gong Jue Bandan, taking the Indian Bronze Buddha and the Mian Tang School as the criterion in terms of physical structure, while the use of painting landscape and color absorbed some of the laws and techniques of Ming Dynasty Gong Brush Stroke, thus creating the "Kachi School". It is characterized by the emphasis on personality in character modeling, the rigid and smooth lines, the color bias is heavy green, elegant and beautiful: the picture scenery draws on the Ming Dynasty heavy color workers to paint mountains and stone waterfalls, flowers, birds and trees, creating a wonderful and magical artistic realm.
Characteristics of the style of the painting school
The Kachi school developed on the basis of the MianTang school, emphasizing the blankness and elegance in the Han style, and the painting style exuded a Confucian and elegant literati temperament, which was loved by the living Buddhas who attached great importance to literature and art at that time, and became the new mainstream of Tibetan painting in the 17th and 18th centuries.
(l) Composition
Absorbing the elements of Han Chinese landscape painting, the landscape part is more realistic, the trees and rocks in the vicinity are concrete and real, and there is no multicolored cloud xia of the Decorative Meaning of the Mian Tang School, and it also absorbs the perspective method of Han Landscape Painting, making the picture a three-dimensional and far-reaching panoramic scene.
(2) Painting techniques
In the painting technique, there is the effect of HanDi Gongbi figure painting, which has a deep and elegant and distant charm. Its color layer is thin and rich, the color is thick, the contrast is strong, and the bold use of gold and silver makes the picture effect magnificent, and at the same time shows a unique visual effect that is moist and beautiful and elegant. The weight and thickness of its line drawings, the twists and turns, reflect the profound skill.
(3) Character modeling
The shapes of the Buddhas and Bodhisattvas are combined with realistic and exaggerated deformation. The shape and measurement of Buddha statues maintain the basic characteristics of the Indian and Nepalese styles, and absorb the modeling characteristics of the Miantang school, while when drawing images of bodhisattvas and Buddha mothers, they use exaggerated techniques to make them more solemn and beautiful. The overall shape pursues the expression of portraiture, or the body is beautiful, full of rhythm, or the expression is calm and solemn, forming a powerful appeal.
【Karma Gachi Artistic Achievements and Painting Characteristics】
Situ Qu Ji Yi Nai rebuilt the Eight States Monastery until the end of the 20th century, and the temple served as a center of the Kazi school. Cultivated a lot of famous outstanding painters, among them, the representative figure who was respected by the public and written into history was Tang Lazewang (1902 - 1989), in the 1940s, the flourishing Tang Lazewang has become a master figure in the world of sonic boom painting, when Dzongsar Monastery Ming Da de descended Yang Qin ZeWangbo had given the "Thangka painted by Fan Tang Lazewang, without blessing can be directly hung up", and the public also gave him the reputation of a magical painter, Tang Lazewang is a scholar with five cars and high moral character. His outstanding contribution to painting is beyond the reach of ordinary people.
Looking at some representative works of the Kazi school in various historical periods, compared with other painting schools in the use of color, the overall feeling is that the color effect of the picture is relatively light, fresh and soft. The second is to do a good job of green; the transition of the picture is mostly a green tone. The reason for this seems to be closely related to the use of mainland flowers and birds and green landscapes in the landscape configuration part of the Painting of the Kazi School, which is not simply to meet the needs of color coordination and balance, but also a pursuit of harmony and nature in the realm. The Kazi school is very good at using the dot dyeing method, and the relationship between dots and transformations has reached pure fire, and this color application method, even if the picture effect is light and thin, will also make the transition between color and color natural. In the process of dot dyeing, when the painters dip the color with the pen, they can only pick up the color of the size of the vegetable at a time, and then gently and repeatedly point it on the picture, and from time to time use the tip of the pen to dip the saliva in the mouth until the color is very light and even. And so on, very laborious and time-consuming. In the folk, there is such a slang saying about the thangka drawn by this finely crafted dot dyeing and coloring method: a beautiful thangka work must be drawn, and the cuckoo needs to be called three times. It means that it takes three years of work, most of which is spent on coloring.
The formation of the Karmagachi school
In the middle of the 15th century, after the establishment of the styles of the Mian and Qing schools, it was not until the second half of the 16th century that another new school of painting, which was crucial in the history of painting, the Karmagachi school, appeared. From the day it was born, it was closely associated with the Karma Gaju school (the Black Hat Gaju school, or "white religion") Tibetan Buddhism. It arose as the court style of King Karmapa, and thus drew the name of The Great Treasure King, Karmapa.
Its features:
1. The landscape part is more realistic, basically consistent with the green landscape of the Han people, the trees in the vicinity, the rock paintings are concrete and real, there is no multicolored cloud with decorative meaning of the Mian school, there is no moving mountain that appears in the form of a fixed modeling unit, and it is more like a single landscape painting composition.
2. In terms of painting technique, it has the charming effect of Han Chinese gongbi figure painting, three alum and nine dyes, light and elegant. The color layer is thin and rich, from stone color to water color, from transparent to heavy color, the semi-concealed and semi-transparent surface layer is permeated with the underlying color, and the transparent rendering of the surface layer is permeated with stone color. The proportion of line drawing is particularly prominent, light and heavy and heavy and twisting and turning, reflecting the painter's understanding of lines and profound line drawing skills.
3. The shapes of the Buddhas and Bodhisattvas are studied from the early Indian bronze sculptures, with a beautiful posture and rhythm, and a calm and calm look. In the portraits of the living Buddhas of the high monks, the portrait of the performance, the character image is idyllic, soft, calm. Portrait like a real person, vivid.
4. Express human skin with gray and white, bright and harmonious colors. The picture presents a high-grade and elegant cool gray tone. There is a deep and keen color cultivation.
The beautiful poetry and distant artistic conception embodied in the art of the Gachi school are the charm of its painting school.
In the development of the Gachi school for more than 400 years, it has made important contributions to the history of Tibetan painting, and has produced many famous painters of the master level, especially the figures of His Holiness and the reincarnated living Buddha and the master of art in this school. Eastern Tibet has always been the area with the greatest influence of the Gachi School Sometimes the Gachi painting style is also said to be "Zangdong style" and "Kham style" In the middle of the 17th century AD, the Gaju school was defeated by the Gelug school in the brutal struggle of the sect, and the remnants of the Gaju school retreated to the Kham district After the 18th century AD, it was transferred to the Babang Monastery in Dege. Kham has always been the most developed of the Gachi sect. The region with the longest duration and the purest style inheritance. After the 17th century AD, there were only two major types of painting styles in the entire Tibetan painting world that continued to be the Xinmian Tang school and the Gachi school in Kham District, which influenced the entire Tibetan Buddhist cultural region. The Kham area is the last reserved area of Gachi and its descendants. After the emergence of xinmian, a large number of Gachi styles were absorbed, becoming a synthesis of the old Mian school and the Gachi school, in other words, the two schools that coexisted in this way lost a clear stylistic difference and became a general trend of integration, thus creating the impression that the new Mian school "unified the world".
Next, please enjoy a group of multi-faction green Tara thangkas numbered 138-548369:
