晏如

唐卡是來源于中國藏族文化的繪畫藝術(shù)，“唐卡”一詞是藏語的音譯，意思為“填補(bǔ)空白”。唐卡作品通常以藏傳佛教題材為主，通過細(xì)致的線條、鮮艷的色彩以及生動(dòng)的人物，描繪出藏族的宗教、社會(huì)、文化習(xí)俗。

Thangka is a form of painting art originatingfrom China’s Tibetan culture. The term “thangka”is a transliteration from the Tibetan language，meaning “to fill the gap.” The themes of thangkasare usually Tibetan Buddhism. Through theirdetailed lines， vibrant colors， and vivid characters，the paintings depict the religious， social， andcultural customs of the Tibetan people.

青海省的黃南藏族自治州被譽(yù)為“唐卡的傳承之鄉(xiāng)”，是“熱貢唐卡”的發(fā)祥地?！盁嶝曁瓶ā睂儆凇盁嶝曀囆g(shù)”的一種，“熱貢藝術(shù)”作為青海民間藝術(shù)的代表，先后被列入中國國家級(jí)非物質(zhì)文化遺產(chǎn)和聯(lián)合國教科文組織人類非物質(zhì)文化遺產(chǎn)代表作名錄。在青海黃南地區(qū)，有很多擅長繪制唐卡的民間藝人，扎西尖措就是在這塊土地上成長起來的一位優(yōu)秀畫師。

Huangnan Tibetan Autonomous Prefecturein Qinghai Province is renowned as the birthplaceof thangkas. The best example of the art form is“Rebkong Thangka，” which is celebrated as one ofthe “Rebkong Arts” and as the representative offolk art in Qinghai. It has been listed as a nationallevelintangible cultural heritage in Chinaand included in the UNESCO RepresentativeList of the Intangible Cultural Heritage ofHumanity. The land of Huangnan has givenbirth to many brilliant artists， and Zhaxi Jiancuois one of them.

扎西尖措有青海省省級(jí)“工藝美術(shù)大師”的稱號(hào)，擔(dān)任中國工藝美術(shù)協(xié)會(huì)唐卡專業(yè)委員會(huì)副主任等職務(wù)。幼時(shí)的扎西尖措從村中老一輩唐卡藝人那里開始了他的繪畫啟蒙課。家境不富裕，買不起好的畫材，他便以木棍、樹枝、石頭和粉筆等為繪畫工具，以黃土地為“畫布”學(xué)習(xí)繪畫唐卡。高考后，他選擇就讀青海民族大學(xué)工藝美術(shù)設(shè)計(jì)專業(yè)，在學(xué)習(xí)素描、油畫的同時(shí)，嘗試將它們?nèi)谌胩瓶ǖ睦L畫。畢業(yè)時(shí)，扎西尖措舉辦了該校首次學(xué)生個(gè)人唐卡作品展。

Zhaxi Jiancuo was accredited as a provincial-level“Grand Master of Arts and Crafts” and serves as deputydirector of the Thangka Art Committee of the China Artsand Crafts Association. In his early years， Zhaxi Jiancuowas enlightened by the older generation of thangka artistsin his village. Born to a financially disadvantaged family， hecould only use wooden sticks， branches， stones， and chalksas tools and the yellow earth as his “canvas” to practicewith. After taking the college entrance examination， hechose to study in the Department of Arts and Crafts Designat Qinghai Nationalities University， where he learned theskills of sketching and oil painting and later integrated theminto thangka painting. Upon graduation， he became thefirst student at his university to hold a personal thangkaexhibition.

扎西尖措的作品注重各地區(qū)的文化交融。一次在參觀山西太原的云岡石窟時(shí)，他注意到，石窟中佛像底座上的彩繪與他家鄉(xiāng)藏式建筑上的繪畫圖案，不論是樣式還是顏色都十分相似。在他看來，今天在藏傳佛教中盛行的很多藝術(shù)形式，都是從中國其他地區(qū)“引進(jìn)”的。為了更好地了解這些藝術(shù)傳播的脈絡(luò)，他利用到各地參展的機(jī)會(huì)，開始研究藏式建筑圖案與其文化背景，以期了解青海地區(qū)文化與中國其他地區(qū)文化交流的歷史。在2018 年，扎西尖措根據(jù)自己整理的藏式建筑圖案資料創(chuàng)作了百幅系列作品“吉祥彩繪”，讓許多唐卡畫師從中了解到藏式建筑圖案的歷史淵源，并開始將其作為唐卡作品的主題進(jìn)行創(chuàng)作，而不局限于佛像唐卡的繪畫。

Zhaxi Jiancuo’s works seek to highlight the meeting andfusion of regional cultures. During a visit to the YungangGrottoes in Taiyuan， Shanxi Province， he noticed thesimilarities between the painted patterns on the pedestalsof Buddhist statues and the patterns on Tibetan-stylearchitecture in his hometown， both in style and color. Inhis view， many art forms prevalent in Tibetan Buddhismtoday were “introduced” from other regions of China. Inorder to better understand the dissemination of these artforms， he started researching Tibetan architectural patterns?and their cultural backgrounds when exhibiting hisworks in different regions， hoping to understandthe history of cultural exchanges between Qinghaiand other regions of China. In 2018， based on theTibetan architectural patterns he compiled overthe years， he created a hundred paintings underthe title “Auspicious Color Paintings.” The serieshave provided many thangka painters with insightsinto the historical origins of Tibetan architecturalpatterns， and motivated them to create thangkaworks under these themes and to explore beyond thepainting of Buddha statues only.

扎西尖措又嘗試對(duì)傳統(tǒng)唐卡繪畫的內(nèi)容進(jìn)行革新。他發(fā)現(xiàn)，傳統(tǒng)的唐卡畫面結(jié)構(gòu)基本是以主位的釋迦牟尼、兩旁的十六尊者和下方的四大天王為定式，眾多人物都集中于一幅畫面中。扎西尖措嘗試將十六尊者從這樣的群像中單獨(dú)拆分出來，又融入青海、西藏和四川三地的藏式繪畫風(fēng)格，創(chuàng)作出“十六尊者”系列作品，這也使他成為第一位獲得中國國家青年藝術(shù)創(chuàng)作人才資助項(xiàng)目的唐卡畫師。

Zhaxi Jiancuo has also attempted to innovatethe content of thangka painting. He noticedthat traditionally， a thangka painting consists ofmultiple figures， with Shakyamuni at the center，sixteen arhats on the sides， and the Four HeavenlyKings below. However， in his series of works“Sixteen Arhats，” Zhaxi Jiancuo ground-breakinglyseparates the sixteen arhats from the traditionalcomposition and incorporates the Tibetan paintingstyles of Qinghai， Xizang， and Sichuan. Withthis work， he became the first thangka painter toreceive funding from the Talent Support Programfor Chinese National Youth Artists.

在追求創(chuàng)新的同時(shí)，扎西尖措依舊保留了唐卡繪畫傳承多年的“本味”。他從黃南地區(qū)老一輩的唐卡繪畫藝人那里了解到，現(xiàn)代技術(shù)生產(chǎn)出的畫布通常使用石膏粉來打磨，而傳統(tǒng)畫布則因?yàn)樵缒觊g的條件限制，通常都是就地取材—將當(dāng)?shù)氐狞S土燒制、過篩、打磨后再抹到畫布上。扎西尖措按此傳統(tǒng)技法來準(zhǔn)備畫布，使畫布呈現(xiàn)出土黃的底色，與礦物顏料融合后創(chuàng)作出的唐卡畫有一種復(fù)古的味道，頗具古代宮廷唐卡畫的風(fēng)格。

While pursuing innovation， Zhaxi Jiancuo stillretained the essence of thangka painting that has beenpassed down for generations. He learned from the oldergeneration of Huangnan thangka artists that while thecanvases are now commonly smoothened with gypsumpowder， they used to be primed with the yellow clay rightfrom the ground， which was fired， sifted， and polished?before being applied to the canvases， due to limitedresources in the early years. This is also how ZhaxiJiancuo prepared his canvases. The yellowishbackground created as a result， combined withmineral pigments， gives a retro feel to his paintingsas if they were found in ancient courts.

近年來，唐卡的需求量在不斷增長，扎西尖措心中也浮現(xiàn)一個(gè)念想，就是培養(yǎng)更多的唐卡繪畫人才。畢業(yè)后，他在省會(huì)西寧市設(shè)立了自己的唐卡工作室，到目前為止招收了30 多名學(xué)生。在當(dāng)?shù)厝丝磥恚瑢W(xué)習(xí)唐卡繪畫是很隆重的一件事。曾經(jīng)有一名來自貧困地區(qū)的學(xué)生到扎西尖措的工作室來求學(xué)，“他們一家子七口人都來送這個(gè)孩子學(xué)畫唐卡?！痹骷獯牖貞浀?。

In recent years， the demand for thangka hasbeen continuously increasing. This gives ZhaxiJiancuo the idea of nurturing more thangkapainters. After graduation， he established his ownthangka painting studio in Xining， the capital cityof Qinghai Province， and has so far recruited morethan 30 students. In fact， learning thangka paintingis considered a respectable endeavor by the localcommunity. Recalling the arrival of a student froman impoverished region， Zhaxi Jiancuo said， “Hisentire family of seven came to see him off to studythangka painting.”

除此，唐卡推介會(huì)和藝術(shù)基金資助項(xiàng)目等幫助唐卡民間藝人打通了個(gè)人創(chuàng)作與對(duì)外交流之間的通道。通過中國文聯(lián)的平臺(tái)，扎西尖措與同期校友一起在青海當(dāng)?shù)卦O(shè)立了唐卡寫生基地，并掛牌“湖南師范大學(xué)現(xiàn)當(dāng)代藝術(shù)研究中心”。他們邀請(qǐng)來自湖南的畫家朋友體驗(yàn)唐卡繪畫，這些畫家回到湖南后舉辦了唐卡展覽，相關(guān)新聞的瀏覽量在短短幾天內(nèi)就突破了30 萬次?！耙_(dá)到這樣的宣傳力度，靠我自己是辦不到的。”扎西尖措說。有了這樣的經(jīng)歷，他目前正在考慮打造“唐卡繪畫體驗(yàn)”的新模式，不僅可以讓具有專業(yè)技能的畫家參與其中，還可以讓普通人感受到唐卡的別樣魅力。

Additionally， thangka promotion events and artfunds have helped bridge the gap between individualartists and their peers and potential audiences. Throughthe platform provided by the China Federation ofLiterary and Art Circles， Zhaxi Jiancuo and his fellowalumni established a thangka sketching base in Qinghaiunder the name of “Research Center for Modern andContemporary Art at Hunan Normal University.” Theyinvited painters from Hunan Province to experience?thangka painting， who later held thangka exhibitionsupon returning to their homeland. The news coverageof their exhibitions received over 300，000 views in justa few days. “I alone could not achieve such publicity，”Zhaxi Jiancuo said. Feeling all inspired， he is currentlyconsidering creating a new model of “thangka paintingexperience” that not only involves professionalpainters， but also allows amateurs to experience theunique charm of thangka first-hand.

抱著對(duì)唐卡的熱愛，扎西尖措除了積極創(chuàng)作大量優(yōu)秀的唐卡作品，還為唐卡發(fā)展作出貢獻(xiàn)—深入探尋唐卡奧秘，將唐卡技藝創(chuàng)新融合，推動(dòng)唐卡走出青海、走遍全國，未來走向世界。從中，我們看到了青海當(dāng)?shù)厮嚾藢?duì)于唐卡藝術(shù)的代代傳承與不斷創(chuàng)新，也看到了中國對(duì)非遺技藝的保護(hù)與推廣。

With a deep love for thangka， Zhaxi Jiancuo hasnot only created numerous magnificent thangka worksbut also contributed to the development of thangkaart. He has explored its mysteries， blended innovativetechniques into the art form， and brought it beyondQinghai to reach the rest part of China， and eventuallythe world. Through his journey， we witness thecontinuous inheritance and innovation of the thangkaart by local artists in Qinghai and China’s efforts toprotect and promote intangible cultural heritage.