从“无我”到“我执”:热贡唐卡画师的创作变迁

From “Anatman” to “Atma-graha”:a Research on Changes of Regong Thangka Painters' Creation

在传统社会中,热贡唐卡的造神实践,是画师"无我"的修行;在现代语境中,作为创作主体的唐卡画师,在恪守传统技艺与图像志的同时,也在不断尝试着个性化的创作方式。这种和"无我"状态相悖的"我执",是热贡绘画唐卡从传统至现代社会变迁的显著标志。作为宗教圣物的绘画唐卡,在现代社会中具有非物质文化遗产、商品、艺术品等多重属性,我们也需要从不同纬度对唐卡的个性化创作予以解释。

the traditional society, Regong Tangka＇s practice of creation for God is the painters＇ ＂anatman＂; in modern society, as a subject of creation, Thangka painters have also been trying a personalized creation in accordance with traditional art and iconography. This ＂atma-graha＂contrary to the＂anatman＂status, is a significant symbol of Regong Thangka painting from traditional change to modern social ones.Thangka painting, a religious holy, has multiple attributes of intangible cultural heritage and commodities in modern society, it is essential to explain personalized Thangka creation from different perspectives.