The Legend of Tibetan painter Amdo Qiangba _ Amdo Qiangba's Last Work

Tibetan painter Ando Jamba and legendary painter Ando Jamba enjoy a wide reputation in Tibetan areas. Mention him, just as the mainland mentions Qi Baishi and Zhang Daqian, and the west mentions Picasso. He deserves to be the greatest Tibetan painter in a hundred years. He also gave birth to a son at the age of 80, and the vitality and romantic legend of this master of art are also amazing.

Ando Qiangba deserves to be regarded as the greatest Tibetan painter in the last century. Many masterpieces he left behind intuitively describe the vicissitudes of Tibet in the past century and the glory in the past thousand years, which not only left eternal treasures for this nation and this era, but also inspired the hearts of many Tibetan devout believers. Moreover, I believe that this far-reaching influence will continue to future generations.

It has been more than three years since Amdo Jamba left us. In the memory, in the image, at the end of my missing pen, the old man's sly eyes are still flashing. ...

Born as Thangka

Amdo Jamba's unique painting style in ancient and modern times is first reflected in the portraits of real historical figures, among which two portraits of Panchen Lama are printed in large quantities and widely circulated.

Drepung monastery is Amdo Jumba's first stop from Qinghai to Lhasa. More than 60 years ago, 28-year-old Amdo Jamba came to Lhasa from the temple in his hometown Amdo to seek dharma. At that time, he threw himself at the door of Gomax warehouse in drepung monastery. Traditionally, lamas who enter this warehouse will add the word Amdo before their names to show that they are from Amdo area, and the name Amdo Jamba began to ring from this time.

In the summer of 200 1, we came to Lhasa, which was the last time I was with Amdo Djamba. We made up a batch of paintings and recorded the last figures of the old man in many holy places in Lhasa.

Andakel Pearl treasures an early painting by Ando Jamba, which depicts a monk with silver hair. You can tell at a glance that it is a portrait of a real person. The monk sat on the grass, decorated with flowers, presented a bowl of fruit, and some books were rolled around him. The green leaves behind are shaded, and the golden cassock is more eye-catching. The people in the painting have deep eyes and pitying faces. This is the guru of the 9th Panchen Lama, the Lama Lagu of Amdo Labrang Temple. Duo Jieqiang (Jin Mei? Chilie Gyatso)。 This painting was painted in the early 1950s before and after Ando Jumba went to Beijing. This is obviously a new school of Thangka, which emphasizes light and shade, stereoscopic and perspective, and even has no traditional backlight and pedestal. If this is a work influenced by mainland realistic painting, there is definitely no big problem. However, according to Amdo Jamba himself, this style of simulated photos was experimented almost 20 years ago, when he was Zaba of Amdo Temple in his hometown.

Ando Jumba said that when he was 20 years old studying at Labrang Zhaxiqi Temple in Gannan, he once saw a bust of the 9th Panchen Tutu Qujima from the wardrobe of a monk's dormitory he knew. This photo has a black and white tone and the relationship between light and shade, thus highlighting the three-dimensional sense, which has a strong stimulus to young painters who were used to the traditional visual schema of planarization at that time. It was this photo of the Ninth Panchen Lama that inspired him. He painted the first portrait of the relationship between light and shade in the history of Tibetan painting. Take Thangka, a portrait of the living Buddha in Dazha, as an example. This famous pro-British Regent in modern history once imprisoned his student, the pro-mainland Buddha, and poisoned him. Originally a regent, Rezhen entrusted power to his division when he closed for three years, and Daza also promised to return power once Rezhen went through customs. This portrait of Amdo Jamba gives an intuitive annotation to this history.

Amdo Jamba's description of these real historical figures in Tibet in the past hundred years can be said to be profound. He had long or short contacts with most people in these paintings, at least living in the same era. The image and weight of these people in his mind should be quite close to the historical truth, which provides a set of extremely vivid evidence for those who are eager to know Tibet. From an artistic point of view, the creation of portrait Thangka also occupies an extremely important position in Ando's artistic career, which can be said to mark his main achievements. His portrait creation began in his twenties (at the beginning of the Ninth Panchen Lama) and lasted almost his whole life (1999 painting Karmapa).

Amdo Jumba 19 14 was born in Jianzha County, Qinghai Province. At the age of seven, he became a monk in his hometown, Ailong Temple, and began to teach himself painting. At the age of 23, I went to Labrang Temple to study. At the age of 28, he was in drepung monastery 1942. Two years later, 1944, at the age of 30, he was hired by Qusang Temple's benefactor to paint Thangka. As a result, he worked with Qusang Temple's housekeeper, Aniqiong. Jamba Mu Wang's maid fell in love and became secular.

From 1944 to 1954, when he was invited to the Dalai Lama's palace, Andodu lived the most free and happy life in 10 years. I met Geng Dunqun Pei (1903- 195 1). Gengdun Qunpei is a strange monk in the modern history of Tibet, and he has written a lot in his life. His "White History" is considered to be the first chronicle of Tibetan history without myth and with real scientific significance. He also wrote the Sutra of Desire, which surprised the common people greatly. He is also a very talented painter. He knows the hypocritical nature of the Lama Kingdom like the palm of his hand, so he is arrogant in words and deeds and informal in manners. Whenever he has time, he hangs out in Barkhor Street with close friends such as Amdo Jamba. Amdo Jamba said to me, "Geng Dun Qunpei only talks about women, not Buddhism." However, Geng Dun Qunpei's thought obviously had a great influence on Amdo Jamba, and even affected the style, color and character modeling of painting. Judging from the theme that Amdo Jamba is keen to express, that is, the three British lords of Tubo (Songzan Gampo, Chisong Dêzain, Reba Towel, known as the three great French kings in history) and the various methods of Songzan Gampo (calmness, anger, etc.), the image and color in the picture are almost exactly the same as those described in Dun Qunpei's book: "King Songzan is wrapped in HongLing, wearing a colorful half-moon cloak and hooked shoes. Because of his trust in Dundun Qunpei, Amdo Jamba's paintings on this subject show a dramatic and colorful style. Ando said that Geng Dun Qunpei likes to quote classics and look for people's voices and smiles at that time from historical fragments. For example, when Reba Towel met with the envoys of the Tang Dynasty, he described his costumes and ornaments in detail, and many historical figures gradually became clear in their minds through such exchanges. Because of this, Amdo Djamba regards Deng Qunpei as his lifelong mentor and rare confidant.