Tibetan Tangka (gamagazi painting school)

Name of China's national intangible cultural heritage: Tibetan Tangka (gamagazi painting school)

Applicant: Ganzi Tibetan Autonomous Prefecture, Sichuan Province

Project No.: 313

Project No.: Ⅶ - 14

Time of publication: 2006 (the first batch)

Category: traditional art

Region: Sichuan Province

Type: new item

Applicant: Ganzi Tibetan Autonomous Prefecture, Sichuan Province

Protected by: cultural center of Ganzi Tibetan Autonomous Prefecture

Introduction to Tibetan Tangka (gamagazi painting school)

Applicant: Ganzi Tibetan Autonomous Prefecture, Sichuan Province

Gamagazi painting school is one of the three major schools of Tibetan Thangka (Miantang painting school, qinze painting school and gamagazi painting school). It is popular in the east of Tibet, with Ganzi dege in Sichuan Province and Changdu in Tibet as the center. It is said that it was founded by the living Buddha of South Kazakh in the 16th century, and named after gamagachi painting school, which is also referred to as "gamagachi painting school".

The origin of the style of gamagazi painting school is complex. The founder of gamagazi painting school, South Kazakh living Buddha, is influenced by Gadan xiajueba yejuepende, the painting commander of Miantang school. Mijiuduoji, the eighth living Buddha of Karmapa in the same period of South Kazakh, summed up the experience of his ancestors and himself, and wrote the sun mirror in line, which laid the theoretical foundation of the Garze School of painting. Later, the tenth karmapaqu yingduoji discovered the beauty of Han nationality painting and green landscape techniques from a set of Luohan silk Thangka, and began to draw Thangka with fine brushwork and heavy color. His works have a strong Han style, which is different from the two major painting schools of Miantang and qinze in Weizang area. After South Kazakh, there were two painters who inherited the painting style of Garze school. One was kejizhaxi, who was famous for its green and green colors; the other was gaxu garmazaxi, who was famous for his original creation. Together with South Kazakh, they are known as "Garzi sanzaxi".

After the "garz sanzhaxi", master Kangba luhuolangkajie's miniature Thangka can be regarded as a unique one, and master degpu buzeren, who is known as the incarnation of Gongqiao tianpishougama, left his painting plate in dege Sutra printing academy, almost became the model of garz painting school. The inheritance pedigree of Garze painting school is very clear, and there are many famous artists. In the process of factional inheritance, it derived branches due to the relationship of region and apprenticeship, which led to the change of style and the formation of "old Kazi faction" and "new Kazi faction".

The most remarkable characteristics of Garze painting school are thick color, strong contrast and magnificent pictures. Therefore, a set of special techniques for making and using pigments have been gradually formed in hundreds of years. With white, red, yellow, blue and green as the mother colors, nine major branches and 32 middle branches can be created, and 158 minor branches can be changed. The use of gold is a major feature of Tibetan Buddhist painting, because the use of gold is regarded as the most sacred offering to the god Buddha. Garze School of painting has a set of unique skills in developing gold juice, painting, grinding, gouging, engraving and dyeing. It can divide gold into a variety of cold and warm changes. It can draw more than ten different levels of effect with gold thread on black ground. It can also press various lines (commonly known as "gem line") with a pen made of nine eye stone in large areas of gold painting.

Due to the complexity of Thangka production process, high cost and exquisite method, and the skill has been handed down from master to apprentice for a long time. In recent years, many folk painters have replaced traditional pigments with cheap modern synthetic pigments, which has a great impact on the traditional Thangka. At present, the production methods and use techniques of traditional natural pigments are in danger of being lost. The traditional painting style of Garze painting school is also changing, which is in urgent need of protection and rescue.