藏汉民族是亚州大陆上中华民族大家庭中历史悠久、文化丰富的两个伟大民族。自1300多年前唐蕃联姻和亲以来,共同的民族利益把两个民族紧密联系在一起,从未间断过相互间的文化交流、渗透、互补、融和,共同为缔造中华民族灿烂的文化艺术,作出了不可磨灭的贡献。 由于这种历史、地理上的原因,民族间的交往团结,使得雪域藏地艺术和中原汉地艺术同属于东方艺术体系,在其基本的艺术表现法则上有许多共同的地方。如:相对于西方严格的写实主义绘画,藏汉绘画都不属于严格的写实主义。纵观西方美术的发展,除开二十世纪现代主义艺术之外,其表现手法自始至终都是沿着写实主义的轨道发展,都特别注意对光线、明暗、透视、比例,各种素描调子,色彩学透彻的分析研究以及极微妙的色彩感觉的分析研究等。而这一切研究既是建立在自然科学的基础之上,又全都是为能真实地反映客体——被描绘的自然对象的写实性格服务的。这就是西方艺术中的客观精神,实证精神,即科学精神。藏汉艺术同为东方艺术,更多的是主观表现。艺术表现上的中庸性格(即不完全具象,又不完全抽象),并不注意对光线、明暗、透视、比例,各种素描调子,色彩学等的研究,而擅长以线条作为主要造型手段,透视中的散点透视。其艺术风格是东方性格的浪漫主义。 但是 The Tibetan and Chinese peoples are two great nations with a long history and rich culture in the large family of Chinese nation on the Asian mainland. Since the marriage and inquest of the Tang and Fan communities more than 1300 years ago, the common national interest has closely linked the two peoples, never stopped intercultural exchanges, infiltration, complementarity and integration, and jointly made brilliant efforts to create a splendid culture and art of the Chinese nation. The indelible contribution. Because of this historical and geographical reasons, the unity and interdependence of ethnic groups make the snow-covered Tibetan arts and the Central Plains Han Chinese arts belong to the Eastern art system, and share many common ground in their basic law of artistic expression. Such as: Compared to the strict Western realist paintings, Tibetan and Chinese paintings are not strictly realistic. Throughout the development of Western art, in addition to the twentieth-century modernist art, his performance tactics have followed the path of realism from beginning to end. Special attention has been devoted to the study of light, light and shade, perspective, proportions, various sketch and tone, Thorough analysis and analysis of subtle color perception. All these studies are based on the foundation of natural sciences and all serve the realistic character of the object, the natural object to be portrayed. This is the objective spirit in Western art, the positivist spirit, that is, the spirit of science. Tibetan and Chinese art is the same as Oriental art, more subjective expression. The art of mediocrity (ie, incompleteness and abstraction) does not pay attention to the study of light, light and shade, perspective, proportions, all kinds of sketchy tone, color science, etc., and is good at using lines as the main style, Scattered perspective in perspective. Its artistic style is romanticism of Eastern character. but