(70 years of the peaceful liberation of Tibet) Han Shuli: After the peaceful liberation, Tibetan painting art has a contemporary art label
China News Service, Lhasa, July 23, title: Han Shuli: After the peaceful liberation, Tibetan painting art has a contemporary art label
China News Agency reporter Zhao Lang
"Different from traditional paintings in the theocratic category such as thangkas and murals, Tibetan paintings were labeled as contemporary art only after the peaceful liberation in 1951." Han Shuli, the former chairman of the Tibet Autonomous Region Artists Association, was interviewed by a reporter from China News Agency recently. Express.
It has been 48 years since Han Shuli entered Tibet in 1973. His paintings have won many awards at home and abroad, with outstanding achievements.
For nearly half a century, he has witnessed the awakening and development of contemporary art on the plateau since the peaceful liberation of Tibet.
In terms of the existing works, Han Shuli believes that in the early days of peaceful liberation, the budding of contemporary Tibetan art was due to the fact that traditional Tibetan painters went out of the mountains and the country successively, and cultural and aesthetic thoughts collided and innovated.
Han Shuli said: “Environment determines consciousness. It is the social system change after peaceful liberation. Tibetan local painters frequented the mainland, and mainland painters went to the plateau to sketch from life in batches. During the exchange and collision, the consciousness of painting developed from the spirit to human The social and cultural theme of the change of ideology is a major change in Tibetan painting."
Han Shuli bluntly said that from an artistic perspective, the absorption of the first generation of Tibetan contemporary art painters' diversified painting forms is not yet mature, and it needs to be further integrated and combined with its own conditions to form a new field of artistic expression and language of expression.
"Of course, this is the cultural mission to be completed by the second and third generations of successors."
After China's reform and opening up, Tibet ushered in the spring of art development.
At that time, many young Tibetans in Tibet were admitted or sent to the Central Academy of Fine Arts, Tianjin Academy of Fine Arts and other inland and even overseas colleges to receive academic art education.
After graduation, this group of people returned to Tibet, forming a new era in which academics and non-governmental groups are inclusive, helping and learning from each other in contemporary Tibetan art.
As a result, Tibetan contemporary art has truly gained a collective rise and development.
Later, Tibetan academies had an academic education in fine arts, but their strength was relatively weak at that time.
"(Last century) the hard work of the 1980s only yielded the gains of the 1990s." He said that in the early 1990s, local Tibetan painters stepped out of the plateau and held painting exhibitions at home, winning national and international awards.
"These Tibetan and other ethnic painters cultivated by New China have gradually grown up, and Tibetan contemporary art has ushered in an unprecedented moment of glory."
In many exchange missions overseas, Han Shuli organized Tibetan painters to visit many countries as the main person in charge. He has personally experienced the sincere praise of Tibetan painters from overseas art circles.
The growth of contemporary Tibetan painters has influenced groups of people, and the artistic power has radiated to a wide range of social fields.
Among them, art education has become a true reflection of social development since Tibet's peaceful liberation. Nowadays, from universities, middle schools and primary schools to private training institutions, prosperity can be seen, and it is also in line with the current development of aesthetic education advocated by China.
"As early as 100 years ago, Cai Yuanpei and Wang Guowei proposed aesthetic education. Gentlemen are very far-sighted." Han Shuli said that he believes that aesthetic education is beneficial to the development of the whole nation and even the improvement of the socialist system with Chinese characteristics.
For a long time, the Tibet Autonomous Region Artists Association has gathered a team of multi-ethnic art workers from Tibetans, Hans, and Huis.
Han Shuli has now retired, but is still committed to the development of Tibetan art.
He said that Tibet is now in an era of diversified contemporary art development, and outstanding young painters have frequently emerged. He also suggested that folk artisans and painters should strengthen their knowledge in the fields of culture and science, and that life and art should go hand in hand. Become a painter with a high level of thinking, aesthetic level and superb painting ability.
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