The Manifestation of Compassion in the Fusion of Han and Tibetan Art: An Artistic Deconstruction of the 33 Chenrezig Thangka Paintings from Regong

In the lineage of Tibetan Buddhist art, Regong Thangka paintings serve as a perfect carrier of religious spirit and visual aesthetics, thanks to their brilliant texture of mineral pigments and exquisite brushwork outlined with gold threads. This set of 33 Thangka paintings themed on Chenrezig is not only a contemporary model of the "New Menri School" technique in Regong but also takes the in-depth integration of Han and Tibetan art as its thread. It transforms the classic imagery of Chenrezig’s "33 Manifestations" into a tangible visual epic, reconstructing the artistic form of compassionate faith through the balance between traditional rituals and innovative expressions.

I. Iconographic Paradigm: A Groundbreaking Fusion of Han-Style Chenrezig Facial Features and Tibetan Thangka Techniques

The most distinctive artistic breakthrough of this set of works lies in breaking the traditional boundaries between Han and Tibetan iconography, achieving an in-depth dialogue between Han-style Chenrezig facial features and Tibetan Thangka techniques.  

Chenrezig in traditional Tibetan Thangka paintings is typically characterized by sharp facial contours, prominent cheekbones, and deep eye sockets. It highlights the solemnity of the snowland deity through a strong sense of facial three-dimensionality, which conforms to the visual interpretation of "sacredness" in Tibetan Buddhism. In contrast, this set of works boldly incorporates the aesthetic characteristics of Han court ladies to reconstruct the paradigm of Chenrezig’s facial features: the facial lines are smooth and rounded, the eyebrows are like distant mountains veiled in green, the eyes are like rippling autumn waters, the nose is small and straight, and the lips are full and gentle.

This integration is not a dissolution of tradition but an expansion of the universality of Chenrezig’s iconography through aesthetic dialogue. Its facial features not only retain the sacred dignity of Tibetan iconography but also embody the gentleness and elegance of Han court ladies. The compassionate expression when the eyelids are lowered not only conforms to the core Buddhist doctrine of "observing all sentient beings" but also aligns with the gentle imagination of "compassion" in Han culture, transforming Chenrezig from an "exclusive guardian of the snowlands" into a "cross-regional symbol of empathetic compassion".

II. Technical Expression: The Exquisite Symbiosis of Han-Style Painting Techniques and Tibetan Thangka Craftsmanship

In terms of specific techniques, the works are based on Tibetan Thangka craftsmanship and integrate the technical logic of Han-style painting, forming a unique artistic language of "Tibetan-style framework and Han-style texture".  

(I) Line Language: The Balance Between Sturdiness and Vitality

Tibetan Thangka is centered on "shaping with lines", and its lines are famous for the stiffness and strength of the "iron-wire and silver-hook" style. On this basis, this set of works introduces variations of Han-style meticulous brushwork: in the depiction of robe patterns, the edges of the cassock of "Dragon-Riding Chenrezig" are still outlined with extremely thin lines, as stiff as iron wires, highlighting a sacred texture; while for the floating ribbons and skirt hems, the Han-style "water spinach strip" brushwork is adopted, using curved lines of varying thickness to express dynamics. The ribbons wrapped around the dragon’s body unfold layer by layer in wavy lines, as if a gentle breeze is passing through the picture, breaking the regularity of traditional Tibetan lines and endowing the static picture with a vivid atmosphere.

(II) Color Logic: The Collision Between Vividness and Gentleness

In terms of color application, the works take the mineral pigments of Tibetan Thangka as the base, with vivid color blocks of azurite blue and malachite green laying out the background. This not only restores the magnificent tones of the Qinghai Plateau but also inherits the "bright and vivid" color characteristic of Regong art. At the same time, it integrates the texturing technique of Han-style blue-and-green landscape painting: the rocks in the background are dyed layer by layer with light cyan and light green, imitating the delicate texture of the Han-style "hemp-fiber texture stroke", endowing the originally hard rocks with a gentle texture. This combination of "Tibetan-style vivid base + Han-style gentle texture" not only retains the sacred tone of Thangka but also adds the elegant artistic conception of Han-style painting, becoming a typical example of the integration of Han and Tibetan color aesthetics.

III. Interpretation of Imagery: The Differentiated Visual Translation of Chenrezig’s "33 Manifestations"

The soul running through this set of works lies in the accurate capture of the doctrinal connotation of Chenrezig’s "33 Manifestations" and their differentiated visual expression. The 33 paintings are not simple repetitions of images; instead, they construct unique scenes by combining Han and Tibetan artistic languages according to the "salvation attribute" of each manifestation.  

• Secular Manifestation: Interpreting Empathy in Han-Style Context: As the most secular manifestation, "Fish-Basket Chenrezig" takes a Han-style water town as the background. Chenrezig stands on clouds holding a bamboo basket, wearing a robe in a soft light yellow tone with smooth lines like flowing water, and the golden fish in the basket are vivid and lifelike. This design not only embodies the vow of "saving all sentient beings" but also implies the life feelings of "farming, fishing, woodcutting, and reading" in Han culture, connecting sacred faith with secular life.

• Quiet Manifestation: Creating a Spiritual Atmosphere with Han-Tibetan Techniques: "Moon-in-Water Chenrezig" interprets "purity and freedom" through static aesthetics. Chenrezig sits cross-legged on a lotus pedestal in a half-lotus posture, with a bright moon hanging high behind. The background uses gradient colors of light blue and light green to create an ethereal atmosphere. The lotus flowers are dyed pink, with their petals outlined in fine lines. Through the contrast between cold and warm tones as well as thick and thin lines, a quiet artistic conception of "by the water under the moon" is presented.

• Dynamic Manifestation: Highlighting Divine Power Through the Contrast Between Hardness and Softness: As a dynamic manifestation of "shocking demons and protecting sentient beings", "Lion-Roaring Chenrezig" uses a diagonal composition to enhance tension. Chenrezig rides a lion, with the lion’s scales layered using Tibetan techniques, and Chenrezig’s robe decorated with Han-style patterns. The combination of hardness and softness not only demonstrates the sense of power in Tibetan Thangka but also retains the delicacy of Han art, accurately conveying the divine trait of "being majestic but not fierce, compassionate but not weak".

Conclusion

This set of 33 Chenrezig Thangka paintings from Regong takes the integration of Han and Tibetan art as a link. It not only adheres to the religious rituals and craftsmanship essence of Tibetan Thangka but also integrates the aesthetic conception and technical logic of Han-style painting. Furthermore, through the differentiated interpretation of the "33 Manifestations", it transforms the abstract compassionate faith into a tangible visual language. When the luster of mineral pigments and the flow of gold threads interweave on the cloth, it not only proves the inclusive vitality of Regong art but also interprets the core spirit of Buddhist art of "adapting to all sentient beings" — in the dialogue between Han and Tibetan cultures, compassion has more abundant dimensions of expression, and faith has gained a warm power that transcends regions and cultures.