Inhaltsverzeichnis
Auswahl der wissenschaftlichen Literatur zum Thema „Thangka Art“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Thangka Art" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "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.
Der volle Inhalt der QuelleAnnotation:
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 study is the Tibetan thangka and the Orthodox icon, viewed in the context of evolution of the female divine image within the chronological framework of the XV – XVII centuries. The relevance is substantiated by the growing interest of various experts to the religious painting thangka. In examination of sacred images of Buddhist thangkas and Orthodox icons were applied the comparative-historical and iconographic methods that lean on philosophical, culturological and art scientific materials. The novelty consists in the fact that based comparative analysis of the material of Tibetan thangkas and Orthodox icons, the author explores the traditions of depicting light manifestations of sacred images of women. Iconographic plot traces the formation of light and its role in creation of the female guise of wisdom. The conclusion is made that for assessing the Tibetan Buddhist art of thangka and Orthodox icon it is necessary to grasp the essence of female beginning and significance of the symbolism of light that indicates the aspect of wisdom and love on the path of spiritual growth. 
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.
Der volle Inhalt der QuelleAnnotation:
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 conducted in Rebgong, consisting of observation and interviews with key players such as local Thangka masters, students, government officials and dealers, I argue that the models of technique transmission and commercialization have both drastically changed over the past decades, despite the continuation of some features of traditional master-disciple transmission. To justify these changes and compensate for the traditions they betrayed, the key players employed several moral strategies and negotiated with the Buddhist community to maintain a balance between Thangka as a religious object and as a pure commodity. Meanwhile, the sales of Thangka are essentially dependent on its religious meaning. The project attempts to contribute to our understanding of the transformation of religious art alongside modernization, especially the marketization of the economy, and problematize the dichotomy of its religious function and commodity nature. Equally intriguing in this case is how changes in the realm of religious art fundamentally reshaped a specific place and the associated social relations of particular religious and ethnic natures in modern China. 
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.
Der volle Inhalt der QuelleAnnotation:
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 with existing algorithms, and (2) the line density of the Thangka brings extreme challenges for algorithms to define what semantic information the lines imply. To resolve these problems, we propose a Thangka sketch colorization method based on multi-level adaptive-instance-normalized color fusion (MACF) and skip connection attention (SCA). The proposed method consists of two parts: (1) a multi-level adaptive-instance-normalized color fusion (MACF) to fuse sketch feature and color feature; and (2) a skip connection attention (SCA) mechanism to distinguish the semantic information implied by the sketch lines. Experiments on colorizing Thangka sketches show that our method works well on two small datasets—the Danbooru 2019 dataset and the Thangka dataset. Our approach can generate exquisite Thangka.
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.
Der volle Inhalt der QuelleAnnotation:
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) module is proposed to optimize the correlation between Thangka images and text. This module enhances the correlation between the image features and text features of the Thangka through the Captioner and Filter to more accurately describe the visual concept features of the Thangka. The experimental results demonstrate that our proposed method outperforms baseline models on the Thangka dataset in terms of BLEU-4, METEOR, ROUGE, CIDEr, and SPICE by 8.7%, 7.9%, 8.2%, 76.6%, and 5.7%, respectively. Furthermore, this method also exhibits superior performance compared to the state-of-the-art methods on the public MSCOCO dataset.
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.
Der volle Inhalt der QuelleAnnotation:
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 “system of humanization and deification”, their implementation in the Thangka paintings and the features of serving the needs of religion are investigated in this article.
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.
Der volle Inhalt der QuelleAnnotation:
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 provide support for the follow-up study of Thangka image annotation and retrieval.
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.
Der volle Inhalt der QuelleAnnotation:
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 Buddhist thangka patterns as elements to mirror particular features of Kalmyk iconography, as essential objects of religious cult and cultural heritage at large. Results. The paper shows that in the pre-20th century period Kalmyks used different techniques for producing thangkas — painting, embroidery, and applique ones. In the late 18th century onwards, imports of religious attributes from Tibet and Mongolia were restricted, and the role of art workshops affiliated to local Buddhist temples increased. That resulted in further development of thangka painting schools and the shaping of somewhat ethnic style in depicting Buddhist deities characterized by certain differences from canonical images. The old thangkas from private and public collections have served a basis for the restoration of ethnic painting traditions integral to Kalmykia’s Buddhism proper. The contemporary practices of producing divine images are closely related to stages in the regional development of Buddhism from the late 20th century to the present, lay Buddhist experiences, women’s leisure-time activities, and ethnic entrepreneurship. The study concludes contemporary Kalmyk needlewomen are guided by traditional rules of religious craftsmanship.
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.
Der volle Inhalt der QuelleAnnotation:
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 painting datasets as experimental data. Second, we use the training data to train the generator and the discriminator. Then, the TPSF model maps the style of the input image to the target image to fuse the two ethnicities painting styles of Tibetan and Chinese. Finally, to demonstrate the advancement of the proposed method, we add four comparison models to our experiments. At the same time, the Frechet Inception Distance (FID) metric and the questionnaire method were used to evaluate the quality and visual appeal of the generated images, respectively. The experimental results show that the fusion images have excellent quality and great visual appeal.
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.
Der volle Inhalt der QuelleAnnotation:
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 organization and process that lasted almost three years. The article gives information about thangka painters, well-known nowadays: their biographies, characteristics and the information about their further life. By creation the paintings of the Central Khurul, these painters contributed to the development of the spiritual culture in Kalmykia.
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.
Der volle Inhalt der QuelleAnnotation:
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, художественный анализ, исследуются особенности колористического решения икон. Подчеркивается уникальность ранней бурятской живописи и возможность развития ее характерных особенностей на пути инноваций в современной буддийской живописи. The author of the article studies some early Buryat Buddhist thangka (painted scrolls) from the Sukachev Irkutsk Regional Art Museum. Of a great number of gods of Buddhist pantheon author researches those, who were especially popular among Buryats. These are Buddha Amitabha, Green Tara, wrathful dharmapala Mahakala, god of longevity White Old Man. Author investigates the system of composition, iconography, colour of Buryat Buddhist icons. The emphasis is on the originality of ancient Buryat painting of the XVIII century. The thangka icons of this period have monumentality, specific features of color, and the absence of unnecessary details.