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New Exploration and Creation of Traditional Painting: Meeting the "Four Seasons" One by One

Thangka is a unique form of painting, the subject matter involves the history, culture and social life of the Tibetan people and many other fields, known as the encyclopedia of Tibetan culture, is a precious intangible cultural heritage in the treasure house of Chinese national art.

On April 23, a solo exhibition of the "Four Seasons" as the theme of "Four Seasons" was held in Lhasa, Tibet Autonomous Region.

The exhibition specially exhibits the "Four Seasons" of the character style of Bian Ba Wangdui, expresses the natural folk customs of spring, summer, autumn and winter with the traditional Chinzi School Thangka art painting, and takes the portrayal of characters as a personality feature to express the life, old age, illness and death experienced by people in their lives. The visual impact makes the painting more artistically appealing, showing the highland people's respect for nature and life. "Zhen Mo Tu" works based on the Tibetan "Zhen Devil Tu" legend as the basis of painting exploratory creation, through four works to show the earth-shaking changes that have taken place in tibet in the past few decades, but also express the desire for the healthy development of Tibetan Buddhism, painting works in the artistic technique, thick and colorful, rich traditional and modern painting perfect integration, the work is full of imagination for the end, bringing different artistic enjoyment to each audience. The artistic creation of the "three poisons" painting works intuitively, concretely and graphically criticizes the indecent hedonistic pursuit in social development through artistic painting works. Three groups of 11 representative works of the Bian BaWangdui stage, different traditional painting forms show the beauty of Chinzi Pai Thangka art.

New Exploration and Creation of Traditional Painting: Meeting the "Four Seasons" One by One

The picture shows the town magic picture Photo: Wang Shu

New Exploration and Creation of Traditional Painting: Meeting the "Four Seasons" One by One

The picture shows the town magic picture Photo: Wang Shu

New Exploration and Creation of Traditional Painting: Meeting the "Four Seasons" One by One

The picture shows the town magic map. The work is based on the legend of the Tibetan "Town Magic Map" as an exploratory creation, and the colors are thick and colorful Photo: Wang Shu

New Exploration and Creation of Traditional Painting: Meeting the "Four Seasons" One by One

The picture shows the town magic picture Photo: Wang Shu

Born in 1969 in Shigatse, Tibet, Bian BaWangdui has experienced traditional thangka education and discipline education, has a personal experience of the development of thangka art, is the inheritor of the Tibetan Thangka Chinzi school of intangible cultural heritage, and is currently an associate professor of the Fine Arts Department of the School of Art of Tibet University, and a doctoral supervisor.

New Exploration and Creation of Traditional Painting: Meeting the "Four Seasons" One by One

The picture shows the "greed" in the exhibit "Three Poisons" Photo: Wang Shu

As an inheritor of the Tibetan Thangka Chinzi school, Pemba Wangdui not only makes efforts in inheritance and protection, but also constantly innovates in the path of art painting, so that the ancient thangka art can exert its due modern artistic value and adapt to the development of society. In addition, in order to polish his skills more comprehensively, after continuous hard study, while studying the Chinzi school painting style, he studied mural restoration, declared traditional cultural heritage projects and other related work.

"Thangka traditional education is passed on from master to apprentice, father to son, and attaches importance to the inheritance of techniques. After Thangka entered the university pulpit, it formed a complete theoretical system. It has become an art discipline parallel to traditional Chinese painting and Western painting. "Nowadays, with the continuous progress and development of society, it is far from enough to inherit thangka, but also needs to continuously adapt to the development of the times and innovate." (China Tibet Network reporter/Wang Shu Ram)

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