Tibetan Nationality Thangka Paintings 藏族唐卡

时间：2006年
Time: 2006
类别：民间美术
Category: Folk Arts
地区：四川，西藏
Region: Sichuan Province & Tibet
编号：Ⅶ-14
Ref. No.: Ⅶ-14
藏族唐卡·勉唐画派
Tibetan nationality thangka paintings·Manniang School
申报地区或单位：西藏自治区
Nominating unit[s]: Tibet Autonomous Region
勉唐画派是15世纪以后影响最大的藏族唐卡绘画流派，主要流行于卫藏地区。该画派的创始人是勉拉·顿珠嘉措，他出生于洛扎勉唐（今山南地区），勉唐画派由此而得名。勉拉o顿珠嘉措拜萨迦一带的画师多巴扎西为师，苦心钻研，在绘画艺术上有着很高的造诣，其造像多注重绘画线条的运用，工整流畅，法度精严而变化丰富，色调亦活泼鲜亮。在创作的同时，勉拉o顿珠嘉措还根据《续部》编写了绘画理论专著《造像画度如意宝》。
The Manniang School, popular in the Dbus Gtsang Region, has been the most influential school of Tibetan nationality Thangka paintings art since the 15th century. It was founded by Manla Thong Zhu, an artist born in the Luozha Manniang area, hence the name Manniang School. Manla Thong Zhu learnt his skills under the tutelage of Duoba Tashi. With hard work, Manla Thong Zhu made remarkable achievements in painting. He paid great attention to the drawing of lines. His paintings are elegant, smooth and bright and have different emphases. based on Jumaiba, he compiled the painting theory collection Painting Guide.
勉唐画派艺术产生并形成于赞普时代，兴盛于帕竹时代中期至甘丹颇章时代，1949年至1966年为一转折期，1966年后开始冷落、沉寂。尽管20世纪80年代后地方政府做了不少抢救工作，但其绘画技艺依然处于难以为继的状态，有必要进一步加大抢救力度。
The Manniang School was formed during the Zanpu Era and came to its peak in the Pazhu Era and Gandan Pozhang Era. However, it reached a turning period between 1949 and 1966. From 1966 on, this form of art gradually lost public attention. In response, local governments have tried hard to preserve the painting techniques since the 1980s but extra efforts are still needed.
藏族唐卡·钦泽画派
Tibetan nationality thangka paintings·ChenZher School
申报地区或单位：西藏自治区
Nominating unit[s]: Tibet
钦泽画派15世纪中期以后流行于后藏和山南地区，创始人是贡嘎岗堆o钦泽切姆。他自幼酷爱美术，在传统藏传尼泊尔派绘画的基础上吸收中原汉地、印度等地的绘画技法，创立了钦泽画派。钦泽画派和勉唐画派的出现给以前流行于卫藏地区的尼泊尔绘画样式画上了句号。钦泽画派在构图上保持了藏传尼泊尔绘画中主尊较大的特点，但在风景表现上开始吸收汉族地区的绘画风格，尤其擅长表现具有阳刚之美的忿怒像，绘制精彩绝伦。
Founded by ChenZher ChanMou, ChenZher School has been popular in gtsang Tsang and the Shannan Prefecture since the middle of the 15th century. ChenZher ChanMou developed an interest in painting at an early age and founded ChenZher School on the basis of Tibetan-Nepalese painting styles and the painting techniques of the Han people and Indians. The emergence of the ChenZher School and Manniang School soon replaced the Nepalese style paintings, which were once very popular in the Dbus Gtsang Region. Similar to Tibetan-Nepalese painting, the ChenZher School also generally features a large Bodhisattva but in depicting natural scenery, it borrows certain elements from Han style paintings. This school is particularly good at portraying the fierce aspect of Buddha.
藏族唐卡·噶玛嘎孜画派
Tibetan nationality thangka paintings·Karzhi School
申报地区或单位：西藏自治区，四川省甘孜藏族自治州
Nominating unit[s]: Tibet & Garzê Tibetan Autonomous Prefecture, Sichuan province
噶玛嘎孜画派属于藏族唐卡的三大流派（勉唐画派、钦泽画派、噶玛嘎孜画派）之一，流行于藏区东部，以四川省甘孜德格和西藏昌都为中心，相传在16世纪由南喀扎西活佛创建，以噶玛巴大法会而得名，又译"嘎玛嘎赤画派"，亦简称"噶孜派"。
The Karzhi School is one of the three major schools of Tibetan nationality thangka paintings (the other two are Manniang School and ChenZher School). It is popular in the eastern part of Tibetan-inhabited areas and centers on Garzê Tibetan Autonomous Prefecture, Sichuan province and Changdu, Tibet. It was founded by the Living Buddha Nanka Tashi in the 16th century and is also called the Gamagachi School or Gazi School.
噶玛嘎孜画派的风格来源较为复杂，其创派人物南喀扎西活佛以南亚梵式铜佛像为范，深受勉唐派绘画大帅 嘎丹夏觉巴o页觉彭德的影响。经与南喀扎西同时期的八世噶玛巴活佛米久多吉总结先师及自己的经验，撰成《线准太阳明镜》，从而奠定了噶孜画派的理论基础。其后，十世噶玛巴曲英多吉从一套罗汉丝绢唐卡中发现了汉族界画和青绿山水技法的妙处，开始以工笔重彩绘制唐卡，作品具有浓重的汉族风格，有别于卫藏地区的勉唐、钦则两大画派。在南喀扎西之后，又有两名画师继承了噶孜派画风，一是却吉扎西，以青绿设色著称；一是噶旭噶玛扎西，以独创出新著称。他们与南喀扎西一道，被誉为"噶孜三扎西"。
The Karzhi School is formed by combining a variety of styles. It is based on the bronze Buddha portraits from southern Asia and is also profoundly influenced by Manniang School. The theoretical foundations of this school were completed by Nanka Tashi's contemporary, Living Buddha Karma Mikye Dorje. Later on, one of the masters of the Karzhi School borrowed traditional Chinese painting's unique styles and began to paint Thangka in an elaborate way, which means that the Karzhi School is closer to the style of Han Painting than the other two major schools. Since Nanka Tashi, two other masters of Karzhi painting have emerged: Queji Tashi, who is famous for his turquoise painting, and Gaxugama Tashi, who is renowned for his innovation in painting style. They two, together with Nanka Tashi, are known as the "Three Tashis" of Gazi School painting.
继"噶孜三扎西"之后，康巴炉霍郎卡杰大师的微型唐卡堪称一绝，而被誉为工巧天毗首羯摩化身的德格普布泽仁大师留存在德格印经院的画版几乎成为噶孜画派的范本。噶孜画派承传谱系十分明晰，历代名家辈出。派系传承中因地域、师承诸种关系而派生分支，导致风格变化，形成"旧噶孜派"和"新噶孜派"。
After the "Three Tashis", more masters of Thangka painting emerged and some of their works are also regarded as model examples of the Karzhi School. The Karzhi School has a clear line of development and each stage is endowed with numerous masters. In the later years, due to the difference in regions and teachers, the styles within this school began to diverge, thus forming the "old Karzhi School" and the "new Karzhi School".
噶孜画派最显著的特点是施色浓重，对比强烈，画面富丽堂皇，故在数百年中逐渐形成一套颜料制作与使用的特殊技法。创作中以白、红、黄、蓝、绿为母色，能调出9大支32中支进而变化出158小支诸种色相。黄金的运用是藏传佛教绘画的一大特色，因使用金色被视为对神佛最神圣的供养。噶孜画派有一套研制金汁及涂金、磨金、勾金线、刻金、染金的绝技，可将金色分成多种冷暖变化，可在黑地上用金线勾画十几种不同的层次效果，还可在大片涂金的地方用九眼石制成的笔摁出各种线条（俗称"宝石线"）。
The most distinctive feature of the Karzhi School is its heavy and vivid colors. Over the past centuries, this school has formed special techniques in making and using pigments. With the basic colors white, red, yellow, blue and green, painters can make 9 large, 32 medium and 158 small strains of hues. The use of a golden colour, one of the characteristics of Tibetan Buddhism painting, is regardeda sacrament for the Buddha. In the Karzhi School, unique skills are applied to produce liquid gold, spread and rub gold onto the painting, draw golden lines, carve and paint gold. The golden color is divided into more specific strains of hues and can be used to form different layers on a black background. In an area with a high concentration of golden color, different lines can be carved with a particular kind of stone (it has a nickname of "line of gemstone").
由于唐卡制作程序复杂，成本昂贵，方法考究，且技艺长期以来均是师徒相承、口耳相传，维系力量十分微弱，极易中断。近年来，很多民间画师以价格低廉的现代合成颜料替代传统颜料，对传统的唐卡造成巨大冲击。现在传统天然颜料的制作方法和使用技法都面临着失传的危险，噶孜画派传统的绘画风格也在发生着变化，亟需保护和抢救。
With its complicated painting procedures, delicate craftsmanship, high cost and tradition of oral transmission, Tibetan nationality thangka paintings are in an extinction crisis. In recent years, many folk painters have replaced traditional pigments with synthetic ones for their lower cost, which gravely threatens traditional Thangka art. Therefore, it is urgent to take measures to protect the Karzhi School of Tibetan nationality thangka paintings.