Author: Han Shuli
Publisher:
Publish Date: 2002-06-01
Features: Written by Han Shuli, large 16K softcover full-color printing, 112 pages, introduces Tibetan Buddhist painting, sculpture, colored drawings, ritual instruments, Buddha statues, stone carvings, art, folk customs of the Tibetan region, handicrafts, works by Tibetan painters, and Han Shuli's creative artworks.
Preface In Tibet, where there is no summer, October is already early winter. Twenty-nine years ago in October, I first entered Tibet. I remember when the flight attendant just opened the door, large flakes of snow swept in with the cold wind, giving the already startled passengers an unexpected welcome gift. "In August of the northern sky, snow begins to fly," I hadn't even finished reciting the next line when I stepped onto the (Buddha's land) with my feet and under the heavens of the Buddha with my head, truly immersing myself in the snowy plateau. At the time, I didn't realize that this would be an inseparable bond with Tibet. Twenty-nine years ago, Tibet was in the late stages of the Cultural Revolution. Culturally and politically, it was a time best left forgotten, far inferior to today. Yet, as a remote borderland, the vast majority of Tibetans didn't care about the date or time; they had lived and worked according to the laws of nature and economy for generations. Slogans and banners couldn't fill their bellies—survival depended on tsampa (roasted barley) and butter. It should be noted that at the time, the religious atmosphere across Tibet was rather weak. This is why we saw a Tibet nearly free from the veil of mystery. Rough, simple, eerie yet harmonious—these formed the basic tones of the plateau's natural landscape and the spirit of the Tibetan people.
Time passed, and suddenly we reached the turn of the century. This initial impression of Tibet, however, seemed to remain largely unchanged. I am a painter, though it is a minor skill, my hands and feet must be diligent. Therefore, I have long made it a "daily task" to seek opportunities to sketch and take photos in rural and pastoral areas. Over time, I realized that there was still considerable room for exploration and research in Tibetan religion and folk art. Though I knew I was not qualified, a sense of responsibility and curiosity still drove me to delve into it without knowing my limits. Thus, between the sacred mountains and holy lakes, I walked more paths, met more people, and experienced more things, giving rise to more questions and reflections. Fortunately, I could always find Tibetans to help me clarify my doubts—farmers, laborers, merchants, monks, and laypeople were all my teachers (). Among them, Mr. Se Kang Tuden Nima and Master Pomi Qiangba Luozhu provided me with invaluable guidance, which greatly benefited me. Under their wise and enlightening teachings, I realized how ignorant and crude I truly was.
As an ordinary mortal, I interacted most with ordinary people and everyday matters, so I wanted to understand the nature and customs of Tibetans. I also understood and cared about their joys and sorrows. I believe that people in the world, whether in thought or action, are largely similar in many ways, with few significant differences. Otherwise, how could the subtle wisdom of a village farmer, whose words carried great meaning, be so similar to the eloquent arguments of a philosopher? There are not many painters in Tibet with a creative or innovative mindset. Most of them have studied and trained in inland China or overseas. For a time, their works were criticized as heretical. On the other hand, there was a large group of painters, including court artists, temple monks, and folk artisans, who passed down their skills from teacher to student, father to son, adhering to tradition for generations, serving and revering Buddha without stepping beyond the bounds. These painters had different attitudes toward tradition, modernity, fame, and belief, and their perspectives varied, yet each had their own reasons. People like me, from other ethnic groups who entered Tibet to pursue artistic careers, have diverse cultural backgrounds, aspirations, and life experiences. Therefore, understanding the lives and creations of these marginal people in the borderlands and learning about their values is also very meaningful.
We know that Tibet, including the Tibetan regions of Qinghai, Gansu, and Sichuan, had already entered the and brushstrokes of masters like Zhang Daqian and Wu Zuoren in the early 1940s. Through their own synthesis and refinement of Han, Tibetan, and Western cultures, they ultimately achieved their unique and distinct artistic achievements. Then, half a century later, having the fortune to approach these masters and thus deeply or shallowly explore their unyielding connection to Tibet, the benefits are likely not limited to a few marginal figures. Over the past twenty-nine years, I have "roamed the south and north" in this vast, over one million square kilometers of high-altitude land in Tibet. Occasionally, I would quickly sketch and take photos during the day, and at night, I would hastily jot down a few notes by the moonlight or candlelight. After all, I knew well that there was still much left unsaid. Unexpectedly, over time, I have gradually compiled several books (including art albums). Of course, whether their true value and quality measure up is something I can only quietly await the judgment of the readers.
—Han Shuli