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Relevant bibliographies by topics / Thangka Art

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Journal articles

Academic literature on the topic 'Thangka Art'

Author: Grafiati

Published: 18 May 2024

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Journal articles on the topic "Thangka Art"

1

Belova, Darya Nikolaevna. "Manifestation of female image in iconography of the Tibetan thangka and orthodox icon." Культура и искусство, no. 5 (May 2020): 1–17. http://dx.doi.org/10.7256/2454-0625.2020.5.32764.

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This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this

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2

Wang, Xiaoyong. "Between the Religious Act and Art Commodity." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (2019): 1–22. http://dx.doi.org/10.33137/relocations.v2i1.31674.

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Rebgong, located in Huangnan Tibetan Autonomous Prefecture in Qinghai, China, has become one of the most productive areas of Tibetan Thangka painting since the 1980s. Why has Rebgong, a place outside the Tibet Autonomous Region (TAR), become the stronghold of Thangka commercialization? How have Thangka Buddhist painters reacted to the commercialization of their work? I chose to focus on the changes in the past decades in the transmission and commercialization models of Rebgong Thangka. Based on my analysis of both Chinese and English textual sources as well as three weeks of fieldwork conducte

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3

Li, Hang, Jie Fang, Ying Jia, Liqi Ji, Xin Chen, and Nianyi Wang. "Thangka Sketch Colorization Based on Multi-Level Adaptive-Instance-Normalized Color Fusion and Skip Connection Attention." Electronics 12, no. 7 (2023): 1745. http://dx.doi.org/10.3390/electronics12071745.

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Thangka is an important intangible cultural heritage of Tibet. Due to the complexity, and time-consuming nature of the Thangka painting technique, this technique is currently facing the risk of being lost. It is important to preserve the art of Thangka through digital painting methods. Machine learning-based auto-sketch colorization is one of the vital steps for digital Thangka painting. However, existing learning-based sketch colorization methods face two challenges in solving the problem of colorizing Thangka: (1) the extremely rich colors of the Thangka make it difficult to color accurately

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4

Hu, Wenjin, Lang Qiao, Wendong Kang, and Xinyue Shi. "Thangka Image Captioning Based on Semantic Concept Prompt and Multimodal Feature Optimization." Journal of Imaging 9, no. 8 (2023): 162. http://dx.doi.org/10.3390/jimaging9080162.

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Thangka images exhibit a high level of diversity and richness, and the existing deep learning-based image captioning methods generate poor accuracy and richness of Chinese captions for Thangka images. To address this issue, this paper proposes a Semantic Concept Prompt and Multimodal Feature Optimization network (SCAMF-Net). The Semantic Concept Prompt (SCP) module is introduced in the text encoding stage to obtain more semantic information about the Thangka by introducing contextual prompts, thus enhancing the richness of the description content. The Multimodal Feature Optimization (MFO) modu

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5

Shuang, Wang, and Ren Shuai. "Colour symbolism in the art of Thangka." OOO "Zhurnal "Voprosy Istorii" 2023, no. 12-1 (2023): 208–19. http://dx.doi.org/10.31166/voprosyistorii202312statyi06.

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The article examines the origin of symbolism and the cult of colour on the example of colour symbolism in the art of Thangka; it analyses two cultural and logical approaches to colour symbolism comprehension: using inductive method (generalization of natural attributes of colour) and deductive method (further transformation of colour symbolism into a social phenomenon and extension of colour semantic field). Two main symbolic systems generated by colour symbolism in Tibetan culture in the deductive process of its transformation into a social phenomenon - the “system of objectification” and the

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6

Wang, Tiejun, and Weilan Wang. "Research on a Thangka Image Classification Method Based on Support Vector Machine." International Journal of Pattern Recognition and Artificial Intelligence 33, no. 12 (2019): 1954030. http://dx.doi.org/10.1142/s0218001419540302.

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As an art image, Thangka images have rich themes, various forms of expression, complex picture content and many layers of color representation. This paper mainly constructs a multi-core support vector machine (SVM) based on the information entropy feature-weighted radial basis kernel function. In this paper, the kernel function is optimized, and the feature reduction is performed by using the random forest feature selection algorithm with average accuracy degradation. Finally, the effective classification of the icon image and the mandala image in Thangka is realized. The research results prov

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7

Sharaeva, Tatyana I. "Особенности иконографии в калмыцкой вышивке: традиционные и современные практики". Oriental Studies 14, № 2 (2021): 314–36. http://dx.doi.org/10.22162/2619-0990-2021-54-2-314-336.

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Introduction. The Kalmyks are a Mongolic Buddhist people that arrived in the Volga region in the 17th century. The specific ethnic features of Buddhism professed by the Kalmyks took shape over centuries of Russian suzerainty and were determined by various historical factors, including prolonged remoteness from Buddhist centers, the total eradication of Buddhist monasteries and centuries-long ban on spiritual guidance experienced in the 20th century, and the official Buddhist restoration by the early 21st century. Goals. The work aims at identifying and comparing traditional and contemporary Bu

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8

Chen, Yijing, Luqing Wang, Xingquan Liu, and Hongjun Wang. "Artificial Intelligence-Empowered Art Education: A Cycle-Consistency Network-Based Model for Creating the Fusion Works of Tibetan Painting Styles." Sustainability 15, no. 8 (2023): 6692. http://dx.doi.org/10.3390/su15086692.

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The integration of Tibetan Thangka and other ethnic painting styles is an important topic of Chinese ethnic art. Its purpose is to explore, supplement, and continue Chinese traditional culture. Restricted by Buddhism and the economy, the traditional Thangka presents the problem of a single style, and drawing a Thangka is time-consuming and labor-intensive. In response to these problems, we propose a Tibetan painting style fusion (TPSF) model based on neural networks that can automatically and quickly integrate the painting styles of the two ethnicities. First, we set up Thangka and Chinese pai

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9

Nurova, Gerlya V. "К истории cоздания росписей центрального буддийского храма Калмыкии (2016–2019 гг.)". Desertum Magnum: studia historica Великая степь: исторические исследования, № 2 (30 грудня 2020): 179–91. http://dx.doi.org/10.22162/2712-8431-2020-10-2-179-191.

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The article discusses the history of the creation thangka paintings in the Central Buddhist Temple (khurul) of the Republic of Kalmykia which was opened in 2005. The article attempts at giving analysis of the formation of sacral art environment of the Elista Buddhist Temple in the context of the development of Tibetan-Kalmyk Buddhist relationships. The article describes the stages, peculiarities and complexity of the painting process that was done by the Tibetan artists who came from India and are masters of the traditional thangka painting. The author gives the documental facts about the work

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10

Асалханова, Екатерина Владимировна. "Some early Buryat Buddhist thangka from the Sukachev Irkutsk Regional Art Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 350–62. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.023.

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В статье рассматриваются некоторые ранние произведения бурятской буддийской живописи из собрания Иркутского областного художественного музея имени В.П. Сукачева с изображением одних из наиболее популярных в народе персонажей пантеона – будды Амитабхи, бодхисаттвы-спасительницы Зеленой Тары, защитника учения Махакалы, божества долголетия Белого Старца. Акцент делается на своеобразии старинной бурятской живописи XVIII в. Иконы-танка этого периода обладают монументальностью, своеобразием колорита, отсутствием лишних деталей. Автор проводит их иконографический, композиционный, типологический, худо

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