Balagezong

佛珠的作用及意义　　佛珠是佛弟子用以念诵记数的随身法具，在僧俗间的广泛使用。本称“念珠”，起源于持念佛法僧三宝之名，用以消除烦恼障和报障。通常可分为持珠、佩珠、挂珠三种类型。每串佛珠数目表征不同的含义。佛珠的质料不胜枚举，以“七宝”所制成的佛珠最为殊胜尊贵。菩提子是最为人们所熟知的一类佛珠。佛珠是弘法最为方便的法器。在使用佛珠时，不要过分地计较它的构造、颗数和质料才好。只要能做到“静虑离妄念，持珠当心上”，也就可以早证菩提、成就涅槃了。　　一、佛珠起源　　在佛教经典中，关于佛珠的起源，一般都以《木槵子经》所载佛陀对波流离王的开示作为通说。经云：　　佛告王言：若欲灭烦恼障、报障者，当贯木槵子一百八，以常自随;若行、若坐、若卧，恒当至心无分散意，称佛陀、达摩、僧伽名，乃过一木槵子;如是渐次度木槵子，若十，若二十，若百，若千，乃至百千万。若能满二十万遍，身心不乱，无诸谄曲者，舍命得生第三焰天，衣食自然，常安乐行。若复能满一百万遍者，当得断除百八结业，始名背生死流、趣向泥洹，永断烦恼根，获无上果。……王大欢喜，遥向世尊头面礼佛云：大善!我当奉行。即敕吏民营办木槵子，以为千具，六亲国戚皆与一具。王常诵念，虽亲军旅，亦不废置。　　由此可知，波流离王在听到佛陀的开示之后，便开始用木槵子来制造佛珠，持念佛法僧三宝之名，用以消除烦恼障和报障。这应是佛教当中佛珠最初的起源了。　　应当指出的是，佛珠虽然已经成为佛教徒的一项重要标志，但若溯其本源，佛珠并非佛教所创用。如古印度婆罗门教中的毗湿奴派，很早便有持珠的记载。这在出土文物中，便有例证，如在印度出土的公元二世纪“龙王皈佛”造像上，有一尊婆罗门像，其颈上是挂有串珠的。　　在中国，国人知道佛珠这一称谓，最早应始于东晋(317—420)时翻译的《木槵子经》，只可惜译者的名字已经失佚了。但我们有理由相信，两晋时期异域僧侣来华者甚众，这些外国沙门中必然会有携带佛珠的。　　延至唐代，在佛教大兴的时代背景下，记载有关佛珠的经典被广泛传译，先后有天竺僧人阿地瞿多译的《陀罗尼集经》、宝思惟译的《校量数珠功德经》、不空三藏译的《金刚顶瑜伽念珠经》、义净三藏译的《曼殊室利咒藏中校量数珠功德经》等诸多经典。　　至此，佛珠开始在朝野上下、僧俗之间普遍流传开来，如《旧唐书·李辅国传》载：”辅国不茹荤血，常为僧行，视事之隙，手持念珠，人皆信以为善。”　　《续高僧传·道绰传》载：“人各掐珠，口同佛号，每时散席，响弥林谷。”　　从现存的实物来看，甘肃敦煌莫高窟中，保存下来有一尊十六国时期(304—439)的泥塑弥勒菩萨像，便是一尊颈部挂有佛珠的造像。此外，在日本保存下来有《佛像图鉴》一书，其中绘制的唐代高僧像，使用佛珠者比比皆是。可以肯定地说，唐代以后，国人使用佛珠已经是相当普遍了。　　二、佛珠種　　佛珠的种类很多，若就其使用方面来讲，通常可分为三种类型：　　1.持珠——用手掐捻或者持念的佛珠;　　2.佩珠——戴在手腕或臂上的佛珠;　　3.挂珠——挂在颈上的佛珠。　　持珠，多用来记录念诵佛号或咒语的数目。在经典中说：“若善男子、善女人，有能诵念诸陀罗尼及佛名者，为欲自利及护他人……若欲愿生诸佛净土者，应当依法受持此珠。”　　这就说明，持用佛珠就是藉以约束身心、帮助修行、消除妄念，待日久功深，便能增加智慧，利己护人，同时还会获得无量的功德。　　佩珠，俗称手串，以十八颗子珠者最为普遍，多以名贵材质或颜色亮丽者为之。时下许多并非信仰佛教的男女，皆以佩带佛珠为荣，使佛珠俨然成为一种时尚饰品了。在我看来，凡是这些爱戴佛珠的人，皆应看作是深具善根、无始劫来与佛有缘的人。佛陀早有明示：“若复有人手持此菩提珠，不能依法念诵佛名及陀罗尼，但能手持随身，行住坐卧，所出言说若善若恶，斯由此人以持菩提子故，所得功德如念诸佛、诵咒无异，获福无量。”　　挂珠，多采用水晶、玛瑙、翡翠、珊瑚、密蜡、绿松石等珍贵材料制成，子珠的色泽必须匀净，要求选用彼此间色彩变化不大、温润细腻、光洁晶莹的好材料制作。同时，子珠的直径亦要求在一厘米左右，不可有大的误差。在联缀时，每二十七颗子珠间嵌入一颗隔珠，在母珠的下方还会配有一种编织精美的“中国结”与美玉、翡翠等挂件组合而成的“佛头穗”。在重要的法会上或大和尚礼佛拈香的时候，这种“佛头穗”能够起到一定的平衡作用，从而保证在整个佛事活动中仪态庄重。一般来讲，挂珠的佩戴要考虑一定的季节性，如夏季应选用那些水晶、玛瑙、翡翠、珊瑚等宝石类，能够使人有凉爽贴身的感觉;在冬季里就应选用琥珀、密蜡或果实一类的挂珠为好。　　此外，尚有一类挂珠是由佛珠衍化而来的，那便是“朝珠”，它是清代官吏特有的一种饰物。朝珠与普通挂珠最大的区别是，朝珠将佛头穗的样式改成了由阔丝带系缀、用银丝珐琅裹着、被称作“背云”的大坠子，而弟子珠也移到了胸前，由三串组成。因近世有仿制朝珠样式来充当挂珠者，所以在佩戴朝珠样式的挂珠时，应当注意以胸前的三颗隔珠为中心对称，将后背的“背云”紧靠后背中心，而三串弟子珠是左侧一、右侧二的形制，切不可乱挂一气，有悖礼仪。　　为了更好地使人了知佛珠的种类，下面介绍一下佛珠各部位的名称。　　一串标准的佛珠应该包括母珠、子珠、隔珠(又称作“数取”)、弟子珠(又称作“记子”)、记子留和一些饰物组成。　　母珠，俗称“三通”或“佛头”，通常只有一颗，但亦有两颗的，用以将不同数目的子珠归结于一处，同时还可以起到连接弟子珠、记子留和一些饰物的作用。旧时的母珠，多会在内部绘有佛像，采用凸透镜的原理，可以清晰地观察到里面的佛像，更加使人感受到佛珠作为一种法具的庄严。　　隔珠，又称作“间隔珠”或“数取”，多用来将子珠平均分隔开。一般来讲，隔珠均要比子珠稍大一些，数量可采用一颗至三颗不等。如一百零八颗的佛珠和五十四颗的佛珠，就需要每二十七颗子珠用一隔珠;二十七颗、十八颗的佛珠，则每九颗子珠用一隔珠。　　弟子珠的体积比子珠要小一些，一般以十颗或二十颗居多，多串在母珠的另一端，以十颗为一小串，如同算盘一样，采用十进位，用来计算掐捻过的数目。“十”这个数目代表了佛教的“十波罗蜜”，即：施、戒、忍、精进、禅定、般若、方便、愿、力、智。　　记子留是指每串弟子珠的末端所附的比弟子珠稍大一些的珠粒或者饰物，也可以用线绳结成“中国结”来替代，目的是为了防止弟子珠的滑落。　　三、佛珠數目　　每串佛珠都由一定数目的子珠串缀而成，子珠数目随所据经典不同，表征不同的含义，兹列表如下：　　一百零八颗　　是最为常见的数目，为了表示求证百八三昧，断除一百零八种烦恼，从而使身心能达到一种寂静的状态。　　百八烦恼的内容，有多种不同的说法，总的来说，六根各有苦、乐、舍三受，合为十八种;又六根各有好、恶、平三种，合为十八种，计三十六种，再配以过去、现在、未来三世，合为一百零八种烦恼。如经中所言：　　诸菩萨问：云何百八?佛言：有所念，不自知心生心灭中有阴有集，不知为痴，转入意地亦如是，识亦如是，是为意三。见好色、中色、恶色，不自知著不自知灭有阴有集，乃至触亦如是。彼经但列六根各六，虽无三世之语，而结云百八，故知是约刹那而为三世也。既以心意识三为意地三，故通三世，如云集起名心、筹量名意、别知名识。意三既尔，故使所依五根亦尔。三世三个三十六故，故有百八。　　一千零八十颗　　按天台宗理论，十界无不性具善恶，故一千零八十数目表示十界各有一百零八种烦恼，合成一千零八十种烦恼。“十界”表示整个迷与悟的世界，即：1、地狱界，2、饿鬼界，3、畜生界，4、修罗界，5、人间界，6、天上界，7、声闻界，8、缘觉界，9、菩萨界，10、佛界。　　五十四颗　　表示菩萨修行过程中的五十四个位次，其中包括十信、十住、十行、十回向、十地五十阶位，再加上四善根位。分述如下：　　十信：　　1.信心，2、念心，3、精进心，4、慧心，5、定心，6、护法心，7、回向心，8、戒心，9、舍心，10、愿心。　　十住：　　1.初发心住，2、治地住，3、修行住，4、生贵住，5、方便具足住，6、正心住，7、不退住，8、童真住，9、法王子住，10、灌顶住。　　十行：　　1.欢喜行，2、饶益行，3、无瞋恨行，4、无尽行，5、离痴乱行，6、善现行，7、无著行，8、尊重行，9、善法行，10、真实行。[10]　　十回向：　　1.救护一切众生离众生相回向，2、不坏回向，3、等一切佛回向，4、至一切处回向，5、无尽功德藏回向，6、随顺平等善根回向，7、随顺等观一切众生回向，8、如相回向，9、无缚无著解脱回向，10、法界无量回向。　　十地：　　1.欢喜地，2、离垢地，3、发光地，4、焰慧地，5、难胜地，6、现前地，7、远行地，8、不动地，9、善慧地，10、法云地。　　四善根：　　指见道以前，观四谛及修行十六行相以达到无漏圣位的四种修行阶位，包括：1、暖位，2、顶位，3、忍位，4、世第一法位。　　四十二颗　　表示菩萨修行过程的四十二阶位，即十住、十行、十回向、十地、等觉和妙觉。　　等觉：又作等正觉，即指在内容上与佛相等，而实际修行上比佛略逊一筹者。如欲详细了解，请参阅鸠摩罗什译《仁王般若波罗蜜经·受持品》。　　妙觉：指觉行圆满之究竟佛果，系由等觉位更断一品之无明，而得此位。　　三十六颗　　无确切的含义，通常皆认为是为了便于携带，遂三分一百零八颗成三十六颗，其中蕴含有以小见大的义理，故与一百零八颗相同。　　二十七颗　　表示小乘修行四向四果的二十七贤圣位，即前四向三果的“十八有学”与第四阿罗汉果的“九无学”。　　十八有学：1、随信行，2、随法行，3、信解，4、见至，5、身证，6、家家，7、一间(一种)，8、预流向，9、预流果，10、一来向，11、一来果，12、不还向，13、不还果，14、中般涅盘，15、生般涅盘，16、有行般涅盘，17、无行般涅盘，18、上流色究竟。　　九无学：1、退相，2、守相，3、死相，4、住相，5、可进相，6、不坏相，7、不退相，8、慧解脱相，9、俱解脱相。　　二十一颗　　表示十地、十波罗蜜、佛果。“十地”见“五十四颗”一段，“十波罗蜜”见“弟子珠”一段的介绍，兹不赘述。而“佛果”指达到最究竟成佛的果位。　　十八颗　　俗称“十八子”，此中所谓“十八”指的是“十八界”，即六根、六尘、六识。　　六根：1、眼界，2、耳界，3、鼻界，4、舌界，5、身界，6、意界;　　六尘：1、色尘，2、声尘，3、香尘，4、味尘，5、触尘，6、法尘;　　六识：1、眼识，2、耳识，3、鼻识，4、舌识，5、身识，6、意识。　　十四颗　　表示观音菩萨与十方、三世、六道等一切众生同一悲仰，令诸众生获得十四种无畏的功德。十四无畏：　　1、使众生返照自性，获得解脱;　　2.使众生旋转知见，苟遇火难，火不能烧;　　3.使众生旋转观听，虽遇大水所漂，水不能溺;　　4.使众生入于罗刹鬼国，鬼自灭恶;　　5.使众生六根消复，临当被害，刀段段折坏;　　6.菩萨明照十方，使众生不受药叉、诸幽冥所害;　　7.使众生不受虚妄声尘系缚;　　8.使众生行于险路如行坦途，遇贼不受劫;　　9.使性多婬者，不生色念;　　10.使怀忿记恨之人不生瞋恚;　　11.使一切昏钝无善心之人远离痴闇;　　12.使无子众生，欲求男者，令得生男;　　13.使无子众生，欲求女者，即得生女;　　14.使众生持观音名号者，所得福德与恒河沙数无异。　　四、佛珠的質料　　用来制造佛珠的质料，可以说是不胜枚举，无论是矿物还是植物，大凡竹、木、牙、角均可制成佛珠。　　但在佛典当中有记载、可用来制造佛珠的质料，却是非常有限的，最多也不过十余种，实在无法与现今众多繁杂的品类相比了。下面将佛经中所举的佛珠质料加以列表说明。　　在佛教中，以“七宝”所制成的佛珠最为殊胜尊贵。七宝的名目，诸经中说法各有不同，《般若经》说有金、银、琉璃、砗磲、玛瑙、琥珀、珊瑚七种。佛珠的质料除了上述的“佛教七宝”以外，可用五大类别加以划分：　　菩提类　　菩提子，恐怕是最为人们所熟知的一类佛珠了。　　其实，菩提子并非菩提树所结的果实，而是指一种产于雪山附近、名字叫川谷的草本植物，其具体相状是：春天长苗，茎高三、四尺，叶如黍，开红白色花，呈穗状，夏秋之际间结实

Thangka's Subject Matter and Content (Picture) Benzene Education Thangka Mandala (Altar City) Thangka The Book of Thangka Written by Mr. Ye Xingsheng Beijing Ye Xingsheng This article is excerpted from the book Thangka Written by Ye Xingsheng of Chinese Quintessence Art Reader edited by Liao Ben, published by China Federation of Literary and Art Publishing House in January 2012. Mr. Ye Xingsheng is a well-known Tibetology researcher and collector. He has lived and worked in Tibet for a long time. He also studied Tibetan paintings with the 10th Panchen Lama painter and has in-depth research on Thangka. This article extracts some of the contents of Mr. Ye Xingsheng's "Thangka", mainly introduces the subject matter and content of Thangka, and hopes that readers will have a deep understanding of Thangka art. Thangka, a special art mounted on brocade fabric, is widely popular in Tibet and has a history of thousands of years. It is the essence of Tibetan art. Thangka's theme content is extremely rich. The early thangka started from religious themes. Later, with the development of Buddhism, the emergence of various sects and the needs of society, thangka was given more missions. In addition to the dominant position of various Buddhist themes, there were also many historical figures, biographical stories, architectural monuments and fate-related blessings and disasters, sacrificial offerings and astronomical calendar calculations, and Tibetan medicine thangka. Its content involves religion, history, politics, humanities, science and technology, etc., thus forming a huge and complete Tibetan cultural system, and becoming an "encyclopedia" that uses religious theory and painting art to interpret everything in the world ". Its main contents are as follows: 1. icon thangka This kind of thangka is the thangka with the theme of all kinds of Buddhas, Bodhisattvas, Buddha Mother, Arhat, Dharma King, this statue, dharma protector and all kinds of eminent monks, great virtues and historical figures in the two sects of Tibetan Buddhism. There are two main forms of expression, one is the above-mentioned content as the main body, the holy image is in the central position, backed by a halo and an arched shrine, the bottom is a double lotus table and a vajra throne, and the bodhisattvas or disciples are on both sides. The wrath protector is backed by a red prajna wisdom flame, without a halo. The head of the arhat, the heavenly king and the patriarch are lined with halos, and they sit on luxurious cushions and cushions. Since they have not entered the status of the saint, there is no King Kong throne. The backlight is surrounded by auspicious clouds and flowers. Another common form is that in addition to the above content, all kinds of deities and Buddha families, monks, and dependents are arranged in a symmetrical and balanced manner around. The top is mostly all kinds of Buddhas, Bodhisattvas, eminent monks, etc., while the bottom is mainly all kinds of dharma protectors, heavenly daughters, world gods and dependents, etc. All kinds of statues of Buddhas, Bodhisattvas and other gods in this kind of thangka must be drawn in strict accordance with the specifications of the Measurement Sutra of Buddha Statues, and the identification of the artifacts must be accurate and in place according to the ritual. On the other hand, historical figures pay attention to the portrayal of movements and postures, facial expressions and personality characteristics, and there is no fixed pattern. They are mainly designed and drawn according to historical records and under the guidance of the guru. The traditional method is full body portrait. After the Ming Dynasty, there were many portraits without background, such as Genghis Khan and Emperor Qianlong, drawn by court painters with realistic rendering techniques, and even the thangka of various eminent monks was expressed by using the light and dark painting method of Western painting. This kind of thangka has a large number and is widely spread. It is the most important object for monasteries and folk to support and worship. The story of 2. Buddha's life Thangka This kind of thangka is to show the life deeds of all kinds of Buddhas and Bodhisattvas, mainly Sakyamuni, which can be divided into two kinds: single painting and group painting. The center of the single painting is mainly a statue of Buddha, and the surrounding groups show the Buddha's life and biographical stories. The other is a set of multiple sets, common with 12, 36, 108, etc. For example, Sakyamuni's original biography of 12 sets of thangkas, in order to show the 12 major achievements of Bodhisattva, white elephant reincarnation, rib descent, worldly honor, prince of divine power, secular monk, penance, Vajra bodhi, destruction of demons, achievement of positive consciousness, wide transfer of Falun, and light nirvana. This kind of thangka is obviously different from the icon thangka. The theme of the icon thangka is all kinds of gods, Buddhas and eminent monks in the center. Although the Buddha statue on the Buddha's original thangka is still placed in the center of the picture with a large volume, the theme to be expressed is around the Buddha statue. The former composition is symmetrical, the style is rigorous, and the content of each group is relatively independent. The latter completely according to the development of the plot to carry out creative arrangement, combination and string into a whole. 3. mandala (mandala) thangkas such represent the center of Tibetan Buddhism's practice energy, symbolize the Dharma of the Buddha, and show the Buddhist concept of the universe. In ancient India, the place where all living beings were converted to worship Buddhas and in-depth education was called mandala. Its Sanskrit is mandala, which is composed of manda, which means "heart and marrow", "essence" and la, which means "get. Thus the word mandala means "to acquire essence". Mandala Thangka, with its rigorous structure, rich and dazzling colors, unique and exquisite skills, and extraordinary visual experience, harmoniously constitutes a complete Buddha's world. Various mandala cities are basically round and square in form (there are also square ones). The outer layer consists of a circular wall composed of Prajna Flame, Corpse Tolin, Vajra and moat, which indicates the rejection of mortal dust and the suppression of evil spirits, and cannot enter the place where Vajra is stationed in tin. The inner city is square, with doors on all sides, ladders at the door, and towers standing with 16 guards, 4 people on each side. For the palace, within the King Kong. The top of the hall is round, with a small hall inside, where the master of King Kong's biography is lived. The Buddha statues and decorations in various mandala cities with different contents are also different. Each mandala center has its own statue and has become the name of various mandala thangkas. The mandala thangka serves as the form of practice and the content of important ideas in the Tibetan secret, allowing practitioners to obtain the blessing of their own honor through practice, merging the "outer big universe" and the "inner small universe" into one. 4. biographies Thangka biographies Thangka mainly show the life biographies of important historical real figures such as eminent monks and dharma kings. It is characterized by design and creation according to the records in the scriptures and the teachings of the guru, and is lined with natural scenery and humanistic environment, thus reproducing the truth of history. In the form of the same is composed of one or more. For example, the Ming Dynasty thangka "Basiba Painting Biography" treasured in Sakya Monastery has a total of 25 axes, which shows the life story of Basiba, the fifth generation patriarch of Sakya, from birth to death. In composition, the central position is still reserved for Buddha or patriarch, and the surrounding is like a comic book with plots unfolded according to time, interspersed with natural scenery such as mountains, rocks, auspicious clouds, pavilions and pavilions and pavilions. This not only enhances the decorative effect of the picture, but also plays a role in the grouping and penetration of the story. Another feature is that Tibetan is commonly written at the bottom of each group of stories to briefly annotate the contents of the picture. The arrangement sequence is generally clockwise starting from the upper left to the upper right. 5. religious ethics thangka, this kind of thangka expresses abstract concepts such as religious doctrine, philosophical thought, moral concept and causal reincarnation in a pictualized way. For example, the "Ten-Phase Self-Relation Chart", which symbolizes the highest doctrine and sacred thought of the Time Lunar Sect; the "World Model Chart", which expresses the concept of the universe; and the "Six-Dao Round", which teaches the mind and behavior of human beings. The biggest characteristic of this kind of thangka is that it is often not expressed directly, but in the form of symbols and symbolic techniques to clarify ideas, express teachings and reveal themes. For example, in the murals and thangkas, the "Ten Phases of Freedom", which is often called "Namjiu Wangdan", is formed by combining 7 Sanskrit letters and 3 graphic characters up and down, creating a symbol of the base, Tao and fruit in the highest doctrine of the time wheel, and the four colors of red, white, yellow and blue are interspersed with each other to represent the four elements of the universe, wind, fire, water and earth, as well as the sun and moon. At the same time, it represents the body, language and meaning of the gods entrusted to it. From the painting set, all the devices in the three worlds are in the ten-phase free figure. Its energy is huge and incomparable. On the other hand, the six-way cycle takes the Buddhist outlook on life, values and twelve causes to represent the rotation of fate in the art form of wheel rotation, which never stops. 6. praying for blessings and returning wishes thangkas are secular thangkas mainly aimed at warding off evil spirits and eliminating disasters, praying for blessings and seeking wealth, favorable weather and prosperity of people and animals, and are used for birth, old age, sickness and death, atoning for sins and returning wishes, and sacrificial rituals. For example, it is used to control evil spirits and avoid plague; it is used to attract wealth and treasure, and it is used to protect people's fate and transcend the undead. Among them, "Si Rui Tu" uses ancient Indian folk tales to teach respect for the old and love for the young, unity and harmony with elephants, monkeys, rabbits, partridges and a big tree. There is also the "Lu Ma Tu" used in the ceremony of offering sacrifices to the gods and praying for blessings. It is composed of auspicious patterns and characters such as the white horse in the center of the picture, the lion, the tiger, the Peng, the dragon and the seven treasures and eight rui. It is said that it was originally a musical instrument in the sacrificial ceremony of Bon religion, and then added new contents and secret mantras as a banner of fate to pray for blessings and good luck. Or placed outside the door, or hung in the sacred mountain lake, fluttering with the wind, so it is also called "wind horse". Religious ethics thangka 116x 77cm This kind of thangka is mainly created by the folk, carried out in the way of teachers, and created different versions in different regions. For example, a thangka of the Qing Dynasty from Inner Mongolia, "Si Rui Tu", was exceptionally integrated with "Zodiac Tu" into one picture, and the traditional rabbit on the back of the Si Rui Tu monkey was changed to a dog with rabbit ears, and the traditional domestic cow was painted as a yak. At the same time, the expression method of animals in the "Wind Horse Painting" is used for reference at the top. On the left side, the lion and the dragon are drawn together, and on the right side, the phoenix and the elephant are drawn together, thus boldly reforming and innovating the traditional "Four Ruitu" thangka in the Wei-Tibet region (Wei-Tibet, formerly known as Tibet), creating a new form of expression. 7. architectural sacramental thangkas are mainly based on the famous palace castles, gardens and monasteries in history. Such as the Potala Palace, Lobrinka, Jokhang Temple in Lhasa, Yongbulakang, Sangye Temple, Sanggagutuo in Shannan, Tashilhunpo Temple in Shigatse, Sakya Temple, Leowuqi Temple in Qamdo, Qiangbalin Temple and other important temple buildings and pagodas of various sects in various regions. Can be a temple a shaft thangka, can also be a combination of several monasteries into one. One of the biggest features of this kind of thangka is the scattered perspective method, which breaks up the building complex and rearranges it in order to fully display the whole of the temple and highlight the key points without being limited by perspective and space. The second is to link the building with the construction process and celebrations. For example, the "Potala Palace" thangka shows the process of various craftsmen busy with water and land transportation and various craftsmen's construction, and even shows the details of boulders rolling down and injuring craftsmen. It also shows the grand scene of holding a dharma meeting after the completion of the palace and basking in the Buddha on the wall of the White House. On the picture showing the Sangye Temple, it is painted together with the celebration activities such as drama, song and dance and various arts vaudeville. Another example is the picture depicting Labrang Temple in Gansu Province, which shows the whole picture of the temple in a similar way to a line drawing. Moreover, vivid scenes of dancing gods, facing Buddha, even setting up tents, transporting mules and horses, and conducting business activities are painted around the courtyard square and outside the courtyard. There is also a kind of "big handprints, big footprints", "eight pagodas" and other holy relics thangka, mostly made of gold and cinnabar, and written with Tibetan or Sanskrit mantra. This type of thangka is generally a sacred object that the master has passed on to his disciples or monasteries for spiritual practice, so it is rare and precious. 8. tibetan medicine calendar thangka tibetan medicine thangka, tibetan is called "door tang", it is tibetan medicine as the theme of the wall chart thangka. The main content comes from the drawing of the Tibetan medicine masterpiece "Four Medical Classics" written by the founder of Tibetan medicine in the 8th century, and it began to appear in the form of wall charts as early as the 13th century. The most influential and still in use is a series of Tibetan medicine wall charts thangka drawn by the famous Mian Tang school painter Loza Tenzin Robu in the 17th century based on the Tibetan medicine theory and drug knowledge in the "Four Medical Classics · Blue Coloured Glaze" compiled by Diji Sangji Gyatso, with a complete set of 79 Thangka, which accurately and vividly visualized Tibetan medicine knowledge with clever conception and realistic techniques, with teaching function and aesthetic value, it has become a valuable teaching material for teaching Tibetan medicine comprehensively and systematically. The other category is "Zitang", which refers to the astronomical calendar Tangka. This is an ancient discipline popular in Tibetan areas. Mainly by observing the operation of the sun, moon and stars to predict the changes of the four seasons, the Indian calendar of the earth wheel, water wheel, fire wheel, wind wheel to determine the year, month, day, time to analyze and calculate the rise and fall of all things. Later, it absorbed the Chinese calendar and the five elements of gold, wood, water, fire, and earth, and combined with the special natural environment of Tibet to enrich and improve. Since the 13th century, various Tibetan almanacs and thangka wall charts have been compiled to show the celestial phenomena, thus linking them with the production, life and folk customs of the Tibetan people. 9. folk rap thangka The origin of rap thangka is very early, which can be traced back to the ancient Indian "singing poets" and the ancient Tibetan culture of fables and riddles. It is said that it is also a way for Bon to spread its teachings. Its main contents can be divided into two categories: "Lama Mani" and "King Gesar Biography. Lama Mani Thangka is also known as "Mani painting". Because most of the rap artists are lamas, they constantly recite the six-character mantra of "om, eh, eh, pa, mi, hum" in rap, so they call this rap "Lama Mani" and rap artists "Maniba" or "Rochemba". The content mainly includes all kinds of folk tales, biographical literature and eight Tibetan operas, etc., in order to publicize religious concepts such as ethics and karma through vivid forms of expression, and pray for the people to drive disasters. Folk rap thangka, 157x 106cm "King Gesar Biography" thangka is also called "Zhong Tang", which is mainly arranged and drawn according to the Tibetan hero Gesar, who is widely praised among the people. Gesar's legendary life and extraordinary achievements come from the great creation of the people. It is said that Gesar spirits wander around and enter the body of the prophet in the form of dreams and illusions, and then spread in the form of singing without end. Therefore, artists often imitate the image of Gesar when rapping "Zhong Tang", wearing a square war helmet, armor, bow and arrow on the waist, two small flags on the top of the helmet, and a curly beard of Gesar style on his face, thus reproducing Gesar's heroic posture. There is a big difference between rap thangka and the religious thangka supported in the Buddhist temple: first, the content takes folk tales, myths and legends as the main body, with strong folk literature color and secular life sentiment. The second is that the mode of communication is mainly carried out in the course of swimming, which can be carried out in lively forms such as rap, performance, and interaction in the village or in public. The third is that there is no fixed pattern and restraint in painting, so that the artist's imagination and creativity can be fully utilized, and it has become a unique form of thangka art. 10. Bon thangka Bon thangka is an important part of thangka art. Because Buddhism and Bon Religion (one of the oldest religions in the world, originated in Central Asia, with a history of more than 18000 years) have been in the process of long-term confrontation, they have formed a very consistent external form and internal A phenomenon of essential difference. Although the history of Bon religion is much earlier than Tibetan Buddhism, it has gone from the Middle Ages in Tibet to a weak position, so the Bon Thangka handed down from ancient times is extremely rare, so we can only explore its characteristics and laws from the modern Bon Thangka, and compare the differences between the two. As such a special kind of art, the drawing of thangka is also extremely complicated and strict. Every drawing of thangka must be carried out in accordance with the rituals of the scriptures and the requirements of the guru. After thousands of years of continuous improvement, a complete set of technological procedures has been formed: 1. Pre-painting ceremony; 2. Making canvas; 3. Composition drafting; 4. Coloring and dyeing; 5. Tick line setting; 6. Lay gold and draw silver; 7. Open eyes; 8. Sew and frame light. The exquisite thangka produced in this way has gone beyond the single role of religious worship, and has begun to meet the various needs of the secular public. It has become a unique artwork with religious functions as the main function and other functions as the supplement. It has many functions, such as solemn ashram, historical record, spiritual education, spiritual observation, spiritual cultivation, meditation, knowledge dissemination and so on.

Description: Tibetan knives are divided into two kinds of swords and waist knives. The long sword, called "Batamo" in Tibetan, is about 1 meter long; the waist knife, called "knot thorn" in Tibetan, is between 10cm and 40cm in length. The scabbard of the Tibetan knife is of wood, copper, iron or silver inlay. The scabbard is often engraved with designs such as dragons, phoenixes, tigers, lions and flowers. Some patterns are also dotted with precious stones, agate and other valuables. Source: Tibetan knife is also called "folding knife". The legend is named in memory of the Tibetan hero Zile Ganbu. In the distant past, most of the herdsmen on the grasslands of Tibet had Tibetan swords. As noble herdsmen and headmen, in order to consolidate their power, they threatened the herdsmen to hand over swords. Many herdsmen were arrested for refusing to hand in hidden knives. The news reached the ears of the hero Zhelangbu. In order to save his compatriots, he jumped the Marty knife and killed the shepherd and the headman. In the end, the last drop of blood was shed by the outnumbered Chloe Gambhin. In memory of him, the herdsmen called the Tibetan knife "the knife of the folded cloth" and "the knife" for short ". Uses: Tibetan knives have four uses: production, life, self-defense, and decoration. It has a production history of more than 1600 years. The workmanship is exquisite. The knife body is forged with automobile shock-absorbing spring steel. The handle is made of buffalo horn, yak horn, cow bone, white copper, logs and other materials. Most of the exquisite Tibetan knives are made by skilled craftsmen. Due to the fine forging, fine engraving, eye-catching colors, and with Tibetan, there are colorful knife spikes, forming a unique Tibetan handicraft. Especially when a friend moves, gets married or gives birth to a baby, sending a Tibetan knife will make the owner feel particularly happy. Classification: It can be roughly divided into four plates: front and back Tibetan area, Kampot area, Amdo area and Kang area. ① People often say that Raz and Nanmulin Tibetan knives are the representatives of Tibetan knives in the front and back Tibetan areas. Both Lazi and Nanmulin are located in the southwest of Xigaze, Tibet, in the upper reaches of the Yarlung Zangbo River, with high altitude and many mineral deposits. The Tibetan knives made by the craftsmen here pay attention to the steel fire of the blade and the practicality of the knife. Almost all metals are used from sheath to handle, mostly silver and iron. After thousands of years of practice and experience accumulation, a set of unique patterns have been formed in the knife making procedure, such as the use of Tibet's unique ghee, antelope blood and Tibetan green fruit, etc., after repeated forging. As a result, the Tibetan knives in Lazi and Nanmulin, Tibet, are known as "sharp" in the whole Tibet. The sheath and handle of the knife are generally not inlaid with jewelry, either iron or silver, and some will also engrave some auspicious patterns on it. In recent years, Kagalangma Tibetan knives have sprung up in the Xiatongmen area, forming a local Tibetan knife industry, mainly family workshops, facing the Tibetan tourism market. ② Located in the Linzhi area of eastern Tibet, also known as the Gongbu area, inhabited by Tibetans, Monba and Loba, where the mountains are high and the forests are dense, and wild animals haunts them. So people use a wide, long tool. The scabbard is mostly wooden, wrapped with animal skin on the outside, usually with the skin on the leg bone of the beast, and some with claws. The external decoration is mainly the fur color and toe claws attached to the hide. In addition to hunting and fighting, it is also a sharp weapon for people to cut thorns in the dense forest. This area is famous for Yigong Tibetan Dao and Gongbu Tibetan Dao, especially Yigong Tibetan Dao, which has been included in Tibet's intangible cultural heritage. Yigong Tibetan knife belongs to the top Tibetan knife series, the price is expensive, incomparable, ancient belongs to the aristocracy and upper rank to wear special weapons. ③ The Amdo area is mainly for grazing. Herdsmen's knives are mainly used for slaughtering and eating meat. There are strict male and female knives. The length of men's knives is more than one foot, and the length of women's knives is about one foot. The bottom of the scabbard and the end of the handle are upturned, which is boat-shaped. Ando people like jewelry. Headwear, chest ornaments and waist ornaments are all brilliant. These ornaments are also used on knives. The scabbard and handle anchor gold and silver are inlaid with shanshan and turquoise, like exquisite works of art. Ando series of Tibetan knives in northern Tibet when the male Tibetan knife and Yushu An Chong Tibetan knife is particularly famous. ④Kangyu people are rough and bold. For them, knives are mainly fighting weapons. They love knives more than cattle and sheep. A good knife is a fortune, and its image will rise because of it. Because of this, they not only have higher requirements for the knife itself, but also have special preferences for the external shape of the knife as a foil to the samurai spirit. The scabbard material is generally made of yellow, white copper or sterling silver, inlaid with beads, carved dragon painting style on the front, and curly grass on the back, which plays a dual role of beauty and deterrence. The Kangba Tibetan Dao includes the Changdu Tibetan Dao, the Hepo Tibetan Dao and the Dege Tibetan Dao in Baiyu County, Sichuan. The Tibetan armament in the Dege region is well-known in Tibet, and its craftsmanship is unparalleled in the world. Up to now, there are still stalls in Barkhor Street in Lhasa that mainly sell iron practical utensils from Dege area, such as horse saddles (gilt and silver) in pastoral areas, traditional Tibetan iron locks, and various kinds of musical instruments used in monasteries. Production materials: The main processing materials of Tibetan knives are silver, copper (cupronickel, brass, copper), iron, shark, horn, agate, hardwood, etc. Processing technology: the process includes smelting and melting, mold turning and casting, knocking and picking large shapes, carving and inlaying, welding combination, reinforcement, file grinding and shaping, fine carving, magnesium washing and polishing, etc. Technological characteristics: the decorative contents of Tibetan knives include dragons and phoenixes, curly grass patterns, geometric whirling patterns and other block surface embellishments. independent three-dimensional small decorations include treasure vases, lotus flowers, dharma wheels, etc. in the eight treasures of Buddha. The forms of expression are relief, hollow and pinch pattern inlay. Generally, the handle is inlaid with shark skin or black horn, which is easy to hold and not easy to slip off. In addition to the surface relief level and pattern changes, the overall shape of the tool is equidistantly or symmetrically dotted with vermilion pink green and other colors of coral, agate, etc. Tibetan knives have different sizes and shapes. From the overall shape, the head handle has a flat head, conical head, two convex, round and so on. Yushu women's Tibetan knife is very characteristic. The whole knife body is slightly curved from the side, with symmetrical flat rhombus on both sides of the head and tail. The front is inlaid with isometric symmetrical gems. The blade is also slightly curved, which is consistent with the scabbard and has a strong decorative flavor. Speaking of this, we can't help but talk about Yushu Tibetan Dao. The Tibetan knives made by the folk crafts of Yushu collectors are unique in style, unique in decoration, and rich in national style and local characteristics, so they are called "Yushu Tibetan Dao". The characteristic of Yushu Tibetan knife lies in its gorgeous appearance. The common Xining knives, Kangba and security knives are either "chiseling", which are embossed from the inside, to decorate the gilded iron sheet of the knife body, or to embellish it with metal wire, shark skin and precious stones. The Yushu knife, both male and female knives, are made of rich materials and cross-colored decorations. The male knife looks straight. The handle tail is mostly cloud-shaped, the sheath head is mostly round or oval, and the sheath is several millimeters wide, which looks like a small shield. Its external decorative materials are mainly metal blades, metal wire, shark skin, orb, etc. In the application of technological techniques, metal blades have hollowed-out two-way continuous patterns, relief suitable patterns, and patterns made of blades with different colors. Wire is mostly used for laminating or piecing together patterns. Gems are directly embedded in the high metal base. Patterns show themes such as dragons, phoenixes, flowers and plants, Falun, Aquarius and geometric patterns. In the layout of patterns and other ornaments, the main pattern of the scabbard, the dragon and phoenix pattern and the shark skin are often expressed in large pieces, while the rest are partially embellished. Men's knives are mostly embedded with a coral bead in the middle of the metal ornament at the handle tail, which looks unusually eye-catching. At the same time, collectors and artists use silver, copper, brass three different colors of metal materials cross-inlay, set off each other, but also to a large extent enhance the decorative effect.

1. Introduction Nixi is a Tibetan village in Shangri-La County, Yunnan Province. It is the only way to the ancient tea-horse road in the old days. It has a long history of pottery making here. The folk pottery making technology has been passed down from generation to generation for nearly a thousand years. Nixi black pottery is famous in Northwest Yunnan and the whole Tibetan area, and is unique in Chinese black pottery. This kind of pottery is generous and beautiful, and is widely used in northern Yunnan and Tibetan areas of China. The cooked food has an authentic earthy flavor that modern cooking utensils cannot provide. The production of black pottery with 2. process characteristics is mainly divided into three steps, namely: material selection, processing and sintering. Black pottery material selection is to ensure the quality of the main link, the quality of processing depends on the producer's artistic accomplishment, the use of unique sintering process to make pottery black is the biggest feature of black pottery. The material of black pottery mainly contains: silicon oxide, aluminum oxide, iron oxide, titanium oxide, calcium oxide, magnesium oxide, potassium oxide, sodium oxide, manganese oxide and other elements. The larger proportions are silica and alumina, accounting for 66.32 and 14.90 percent, respectively. From the view of numerous unearthed black pottery, most of the raw materials belong to the pure and delicate red clay impacted by the Yellow River, which has been used until now due to its good plasticity. Red clay is mainly distributed in the Yellow River basin, the middle and lower reaches of the more delicate. Good pottery materials go through several processes such as cooling, wind freezing, washing and deposition. The collected red glue soil should have a special storage place. The first condition is: there is enough sunshine, the ground is higher than the surrounding area, and it should be exposed to the sun frequently. It is better to have the old mud that has been frozen by wind for more than 5 years. The wind-frozen red clay is not easy to crack and is easy to use. Most potters have such materials in good condition. When processing materials, it must be noted that all mud water must pass through the filter screen! First of all, pour the wind-frozen red glue soil into the mixing tank and then add water for detailed mixing. While mixing, continuously observe the density of the mud. If it is too large, it is difficult to pass through the filter screen, and more water is needed to dilute the mud. The mud passing through the filter flows into the sedimentation tank, so that the elutriation process of the whole material is completed until the sedimentation tank is full. Finally, cover with a screen to prevent dust from entering. 3. process in order to ensure the quality of black pottery, the material must first be elutriated, the purpose of elutriation is to filter unnecessary impurities, generally use 120# filter as the highest standard. The equipment for washing materials needs to have a cement pool 1 meter higher than the ground level, and its length and width can be determined according to the scale. Generally 2x 3 meters; There is a 5cm diameter round space at the bottom of the mud pool, mainly to facilitate the discharge of mud water. Next to the mud pool is a 15-meter-long and 1-meter-wide sedimentation pool, which is a special equipment covered with a window screen on which the stirred cement water is stored. All sedimentary mud will be turned into high-quality pottery-making materials here. Nisi black pottery is made of a kind of red clay from Nisi Tangdui Village in Shangri-La. If Jianshui purple pottery is gentle and elegant and pleasing to the eye, then Nixi black pottery is like a Tibetan Han, bold and unrestrained. It is also made of red clay, and the clay burned from the red clay in Tangdui Village is ink black. Nissi black pottery is so mysterious, but the method of firing it is very simple. Pile the vessels made of red earth on the ground, spread straw on them, and light them with fire. 4. artistic value and historical heritage Nixi Tangdui Village is located in the northwest of Shangri-La County, between 27 degrees 51 seconds -28 degrees 51 seconds north latitude, 99 degrees 21 seconds -99 degrees 37 seconds east longitude, 2960 meters above sea level, 33 kilometers away from the county seat. Tangdui Village is located in the dry-hot valley zone, and its food crops are mainly highland barley, wheat, rice and potato. The village has a total population of more than 140 households and more than 700 people, all of whom are Tibetans. Among them, 22 households make black pottery. Most of the pottery production time is during slack farming. From the 1970 s to the 1990 s, cultural relics and archaeologists in our province successively excavated more than 300 sarcophagus tombs in Deqin Yongzhi, Nagu, Shidi, Nixi, Xingfu, Bendong and other places in Shangri-La County, and unearthed a large number of black pottery burial objects. Among them, the typical vessel Dajianer pottery jar unearthed with the black pottery jar currently fired by Nixi Tangdui has many similarities in terms of production process, vessel type and texture, which shows that during the Spring and Autumn and Warring States periods, the indigenous ancestors of Diqing had already mastered the skills of making and firing black pottery. The black pottery craft in Tangdui Village, Nixi Township is not only a traditional handicraft with a long history, but also of high academic value. In recent years, with the increasing popularity of Shangri-La, more and more tourists have poured into Diqing, and the original ceramic industry in Tangdui Village has developed unprecedentedly. Shangri-La Nixi Black Pottery Co., Ltd. has been established in Nixi Township, and more than 10 black pottery sales outlets have been set up in Dukezong Ancient City and Dewei Road in Tangdui Village, making the products sold at home and abroad. Sun Nuoqi Lin Yun is a senior folk craftsman in southern province. He has been learning art from his grandfather Rob Sizhu since he was 11 years old. He has been making clay pottery for 43 years. What makes Sun Nuoqi Lin most proud is his apprentice. Of the 136 families in Tangdui Village, more than 20 made clay pottery products, all of which they learned from him. There are also people from other places who come here. As long as they are willing to learn, he will teach them. The eldest son can make clay pottery, and Sun Nuo Qilin and the eldest son can make pottery and earn 10 thousands or 20 thousands a year. His family's products are as far away as the United States, Japan, Switzerland and India, and the largest orders are from Taiwan. In spite of this, he still sells mainly to nearby Tibetans, because he is not keen on producing handicrafts, or vases and ashtrays used by city people. Similarly, no matter what works of art outsiders regard his products as, Sun Nuoqilin just continues to do it according to the ancient local methods. One is that the price of his products is very cheap, that is, the price of daily necessities, and he did not raise the price because he is a celebrity, and the other is that his products still maintain a simple and rugged form, which is very rare. And in some hotels, tourist attractions to sell black pottery, expensive, and the pattern of modern complex, very kitsch.

Master of pile embroidery Huan Gong (middle) and his teachers are making pile embroidery (China Netstone Yuxin Photography) Master of pile embroidery Huan Gong's works (China Netstone Yuxin Photography) China Net September 7 (Reporter Shi Yuxin) In a quiet Tibetan house, master of pile embroidery Huan Gong and his disciples are around a small stove, carefully cutting pieces of broken cloth with scissors, after careful placement, a beautiful painting on paper. Thangka made of silk and satin In the Tongren Art Vocational Training School of Huan Gong Regong in Huangnan Prefecture, Huan Gong showed his own pile embroidery and told the story of his connection with pile embroidery fabric. In his more than 30 years of artistic career, Huan Gong has created more than 2000 exquisite and lifelike pile embroidery works, with prices ranging from thousands to hundreds of thousands. The reporter learned that the pile embroidery with Buddhist paintings as the main content is made of various colors of cotton, silk, and satin cut into various patterns and shapes designed, carefully piled into a complete picture, and then embroidered with colored threads. In Tibetan, pile embroidery is called "Guitang", which means a thangka made of silk and satin. It uses a clever combination of relief and embroidery to carefully cut, carefully ironed and pasted and spliced the gorgeous colorful silk and satin, resulting in Buddhist works of art with exquisite workmanship, gorgeous colors and strong artistic appeal. In a broad sense, pile embroidery belongs to a kind of thangka. "Making pile embroidery is a fine job." It is reported that pile embroidery generally includes pattern design, tailoring, pile pasting, embroidery, and coloring of individual pattern parts. Among them, drawing this process requires five or six years of learning. Huan Gong told reporters that making pile-up embroidery is a delicate job. First, a pattern should be drawn on the base cloth. Then, according to the drawn pattern, the materials should be selected and cut, and the pile should be made according to 1.1 points of the overall composition. Finally, and then paste latex, ironing stereotypes. It is understood that the cheapest pile embroidery on the market can also be sold for 700 or 800 yuan. Huan Gong said that it is very difficult to start a large pile of embroidery works, which requires a painter to have a deep foundation. The painter should draw a large picture of several hundred square meters on dozens or even hundreds of sheets of paper through calculation according to the "statue measurement classics", and then make collages one by one to make it seamless. One of Huan Gong's more proud works was completed by three people after four months of hard work. "I hope the embroidery can be passed on." Huan Gong began to take apprentices when he was 20 years old. The apprentices studied and worked here and got corresponding remuneration. Most of the more than 30 apprentices were from their own village. Huan Gong felt that they were young, but they wasted all their time except farming. It was a pity, so he decided to teach more people some skills as much as he could. When the reporter asked Huan Gong if he was worried about the church apprentice starving to death, Huan Gong smiled faintly, "I hope the embroidery can be passed on, and the market is so large, there are many orders every year, so I never worry." Huan Gong and other old artists taught by mouth and taught their pile embroidery skills to the art-loving youth in the village, making pile embroidery the main sideline of most farmers in the village, and making Nianduhu Village in Tongren County, Huangnan Prefecture a well-known Regong "pile embroidery village". The art of pile embroidery also showed unprecedented prosperity, and people's lives have undergone earth-shaking changes due to pile embroidery. Now artists who like pile embroidery are thriving in batches. The ancient pile embroidery art has a successor and hopes to be passed on from generation to generation. Master of pile embroidery Huan Gong's works (Chinese netting Yuxin photography) pile embroidery drawing (Chinese netting Yuxin photography) pile embroidery artist is carrying out adhesive cutting process (Chinese netting Yuxin photography) pile embroidery artist is sticking cutting rags (Chinese netting Yuxin photography) pile embroidery works (Chinese netting Yuxin photography)

Enamel cloisonne thangka profile: based on traditional chinese cloisonne, pure handmade crafts. After repeated research and exploration, the traditional craftsmanship and the Chinese and Tibetan culture are organically integrated, forming another artistic landscape of the Qinghai-Tibet Plateau-the unique art type of "Fillet Thangka", which endows the Thangka with elegance and luxury. The temperament enables the Thangka art of the Qinghai-Tibet Plateau to be more perfectly displayed and sublimated. Its process characteristics: rich connotation, bright color, three-dimensional sense of strong, and do not fade. Suitable for characters, flowers and birds, etc. for the content of handicrafts production. In particular, the craft of making Buddha Thangka is even better. The combination of traditional craftsmanship and modern style brings the ancient thangka into the breath of the times. The color is more gorgeous, the connotation is richer. It has high ornamental value and collection value. It is a good gift for friends and relatives. Thangka-Master Tsongkhapa Thangka-Three Western Saints

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