Survey On The Techniques Of Making Mongolian Thangkas

Thangka is the transliteration of Tibetan "scroll painting",also known as "Tang" and "Tang accompany".There are many meanings in the "Tang".The interpretation in the "French and Chinese classics" is "vain",and the Chinese language is interpreted as "boastful",and there are "clear" and "flat" meanings in Tibetan Buddhism.Thangka is not only the object of believers worship,but also an auxiliary tool for practitioners to practice law.There are many Thangka in every monastery of Tibetan Buddhism,even in the home of every Tibetan believer.His paintings involve Buddhism,Bodhisattva,Lohan,and law enforcement in Tibetan Buddhism.The Tang Ka was first appeared in the period of the Song Xan Gan Bbu Dynasty of Tubo Dynasty more than 1300 years ago.The subject matter of Thangka covers many fields,such as Tibetan history,politics,culture and social life.Since the Yuan Dynasty,with the extensive and in-depth dissemination of Tibetan Buddhism in Mongolia,the profound impact of Mongolian Buddhism on the Mongolian society is still visible.As a category of Buddhist art,the origin and development of the Mongolian Thangka can be considered to be developed gradually with the flourishing of Tibetan Buddhism in the Mongolian region.Mongolian Thangka,the translation of Mongolian language as "busggeju",its subject,structure,connotation,most of the Tibetan Buddhism as the source,but at the same time it has its own characteristics.Its rich and colorful content is the Mongolian People's devotion to religion and love for life.These exquisite works of art constitute an important poem dazzling Mongolian religious civilization.The thesis is divided into five chapters.The first chapter is the introduction,which introduces the significance of the topic,the current research situation,the train of thought and method,the purpose and the innovation of this paper.The second chapter,through the historical data and literature,introducesthe history of Thangka and the particularity and representativeness of the Mongolian Thangka,and clarified the process and route of the Tang card in Inner Mongolia,and laid the foundation for the study of the Mongolian Tang card.The third chapter analyzes the related contents of the Tang card from "the measure of the statue of the statue",including the quantitative relation,the reference standard,the stipulation of the painting method,the law of the statue and so on,so as to reflect the scientific nature of the Tang card,and make the study of the Tang card art as comprehensive as possible and enrich the content of this article.The fourth chapter is the core content of this article,and makes a complete record of the whole picture of Mongolian Thangka studied by the author.According to the sequence of the process of making the Tang card,the production of each part of the Tang card,and the technical difficulties and attention details contained in the production are described in detail.The fifth chapter mainly discusses the species and inheritance of Mongolian Thangka.There are many types and styles of Thangka.According to the production materials and craftsmanship,they can be divided into three categories: Tangka of embroidery,Thangka of painting,and Thangka of Typographical Printing.In terms of artistic heritage,they compare with the Mongolian group of embroidered Thangka.It is the whole process of making Thangka,or the inheritance of Thangka arts.The Mongolian people draw the Thangka more representative.At the same time,in terms of style,content,and subject matter,Mongolian Thangka is unique and will be discussed in detail.In the epilogue,the characteristics and influence of Mongolian Thangka making techniques are discussed,and some thoughts and opinions on the protection and development of this production technique are put forward.The author thinks that we should start from the thinking of "double track parallel",that is,the two levels of inheritance and inheritance of culture.This paper makes a comprehensive and direct record of the production technology of the Mongol nationality Tang card in the non material culturalheritage list of the autonomous region by the methods of field investigation,pictures and literature.It is believed that the development of the Tang card affects the development of the Mongolian culture,the development of the Mongolian culture and the development of the minority culture complement each other,and the traditional arts should be protected in the original ecology,and the national culture should keep pace with the times.