"Tibet has the true roots of thangka art, and all schools of thangka have been passed down in an orderly manner. Now, in the face of the growing upsurge of thangka industrialization, we need to think coldly." Chairman of the Tibet Autonomous Region Artists Association Han Shuli told reporters.

    Thangka, known as the "carry Buddha", is a religious scroll painting that is mounted with colorful satin and hung for worship. It has a history of more than 1,300 years. Tibet is the birthplace of thangka art, which is dominated by schools of Miantang, Miansa, Chinzi and Karma Karchi.

    "Although the industrialization of Tibetan thangkas is relatively lagging behind, from the perspective of aesthetics and artistic value, its development advantages have never been replaced." Han Shuli said that there are many schools of Tibetan thangka art, diverse painting styles, and orderly inheritance.

    "At present, the industrialization of Thangka in Tibet is developing slowly, but this is a good thing for protecting the ecological soil for the development of Thangka art." Han Shuli said, "We should be cautious about combining the Thangka economy with GDP. Attitude. If Tibetan thangkas are slower on the road to industrialization, we will have enough time to learn from the successful experience of others and avoid the lessons of failure.”

    Nowadays, in the development of the domestic thangka industry, it is not uncommon to chain the art of thangka painting. This assembly-line production method has dismembered and fragmented the original excellent thangka painting talents, and greatly reduced the artistic value of thangka .

    In this regard, Han Shuli said that Thangka painters not only need to have superb painting skills and rich religious knowledge, but also abide by good behavioral norms, which is the premise for the healthy development of the thangka industry. "The assembly line production method reduces the artist's personal blog art standards, and ultimately can only reduce them from artists to painters."

    "Tibetan thangka art is in the stage of productive protection. The focus is on inheriting skills and creating high-quality products. The inheritors focus on high-quality thangka creation, so the creation cycle is long and the output is small. However, compared with large-scale production of thangka, art The value is higher," said Ngawang Tenzin, head of the Tibet Autonomous Region Intangible Cultural Heritage Protection Center.

    The reporter's investigation found that an ordinary Thangka on the market in Tibet currently costs about 1,000 yuan. The works by the masters of thangka painting are mostly sold in the form of orders, and some can be sold for hundreds of thousands of yuan or even millions of yuan. Some experts believe that it is also one of the means for Thangka painters to maintain the high-quality consciousness of their creations to enhance their market competitiveness.

    "The worshipers and appreciators of thangkas are mainly Tibetan Buddhist believers, collectors and tourists at home and abroad. As long as the thangka painters strictly follow the rules of creation and adhere to the aesthetic standards, then from a certain point of view, the number of thangkas and the demand will be closely related. It is relatively balanced." Han Shuli said.

    Expert analysis shows that with the rapid development of tourism in Tibet, Thangka is deeply loved by domestic and foreign tourists due to its superb artistic expression, rich national cultural connotation, and unique cultural and artistic value. favorable conditions for development.

    "In terms of the development of Thangka industrialization, Tibet has a unique cultural soil and inheritance foundation. Therefore, it is our duty to build a world Thangka art center." Han Shuli said, "If one day, the Tibetan thangka industry will become prosperous, we must even more. Do your best to protect the true roots of thangka art, don’t be in a hurry for quick success, and don’t lower the artistic standard of thangka creation because of chasing the market.”