谈西藏布画的现代性转化——以大型唐卡《高原明珠》为例  

The Transformation of Modernity in Tibetan Canvas Painting-Taking the Large Thangka Painting Plateau Pearl as an Example

作　　者：李雪艳 Li Xueyan

机构地区：[1]西藏自治区文联

出　　处：《西藏艺术研究》2023年第2期71-75,共5页Tibetan Art Studies

摘　　要：自20世纪80年代以来,西藏美术界开展了一系列当代布画的创作、研究,本文通过对这一美术实践的回顾,对西藏传统唐卡、布面重彩画、新唐卡创作的起源、渊源以及主题和审美形态的发展、演变作了简要梳理,探讨了西藏布画从传统的神本思想向开放的人本精神的突破。论述重点以完成于2023年的大型新唐卡《高原明珠》为例,对作品的题材立意、风格技法、美学精神进行具体分析,指出西藏布画应当也必然在兼收并蓄中坚守中华优秀传统文化根脉,在开放包容中把握时代大势,在守正创新中实现当代美学表达,进而实现更高形态上的现代性转化。Since the 1980s,Tibetan art circles have conducted creative work and research on contemporary canvas paintings.This paper reviews the artistic practice of canvas painting to provide a brief overview of the origins,sources,themes,aesthetic development,and evolution of Tibetan traditional Thangka painting,heavy tempera on canvas,and new Thangkas.It also further explores the breakthrough of Tibetan canvas painting from the traditional god-centered approach to the open and humanity-oriented theme.Focusing on the example of the large-scale new Thangka painting Plateau Pearl completed in 2023,this paper provides a specific analysis of the theme,conception,style,technique,and aesthetics of this artwork to point out that Tibetan canvas painting should inevitably firmly adhere to the roots of the excellent Chinese traditional culture,embrace the general trends at all time,realize contemporary aesthetic expression through innovations,thus to achieve the transformation of modernity in a higher level.

关 键 词：西藏布画 守正创新 人本精神 现代性转化 

分 类 号：J2[艺术—美术]