原创《NgawangDrapa:thePainterwithaPurpose》：本论文可用于NgawangDrapa论文范文参考下载，NgawangDrapa相关论文写作参考研究。
On the eastern edge of the Qinghai-Tibet Plateau, three great rivers running parallel to one another, the Jinsha, Langcang, and Nu rush thunderously through the fragmented cracks of the Hengduan Mountains straddling Sichuan, Yunnan, and Tibet. These are the “Three Parallel Rivers”, forming one of the most magnifi cent sights of our planet.
This area, with unique natural environment and culture, is known as “Khampa”. The natives here are renowned for their valiance and business know-how. The undulating mountains are dotted by splendid monasteries and ancient sacred remains. Ngawang Drapa is a Khampa painter from this special place. At the age of fi ve, he saw a mural and fell in love with the art of painting. His early career was laden with successes. In primary school, middle school, and college, he was lucky enough to meet some accomplished teachers who appreciated his talent and ge him guidance. With raw talent, diligence, and opportunities, Ngawang Drapa soon became one of the hottest new painters in Tibet. His work, Untitled, won fi rst prize in Tibet’s contemporary art show in 1988. In that decade, in the valleys of eastern Tibet, the young painter pondered the meanings of art and life and came up with a series of works with a contemporary and global vision while rooted in the cultural landscape of his hometown, and these included Full Moon and Red Prayer Banner, Wind of March, Thunders of Autumn, and A Khampa Man. They won critical acclaim after being shown in Lhasa and beyond, and some were acquired by art institutions at home and abroad. Tashi Dawa, famous writer and the president of the Tibet Federation of Literary and Art Circles and the Tibet Writers Association, was so impressed by the bold images and thirst for life in those works that he still spoke of them enthusiastically twenty years later.
Between 1996 and 1997, Ngawang Drapa worked as one of the chief painters of the big-scale historical painting Drawing Lots from the Golden Urn and was fortunate enough to receive instructions from Wu Zuoren and Tenzin. The painting was such a big success that, twenty years later when the Tibet Autonomous Region started the “100 New Thangkas” project to commemorate the 60th anniversary of the Peaceful Liberation of Tibet, they specifi cally commissioned a copy of it.
Ngawang Drapa knew from the very beginning that painting required a high level of cultural knowledge and artistic appreciation, without which one cannot produce substantial and moving works. Unable to fi nd his breakthrough, he was lost and confused for a period of time. Consequently, after a decade of a creative peak, he abruptly disappeared from public view and entered a period of self-imposed exile in which he did not produce any signifi cant new works but simply spent time in nature meditating at holy sites or reading in the rich and soothing aroma produced by Tibetan incense. As a result, he slowed himself down and rid himself of anxiety and fi ckleness. The renowned Chinese painter, Li Keran, once said, “To learn painting, you he to be humble enough to dig deep down to learn the tradition and to be bre enough to branch out to make innovations. Looking back is great, but looking forward is even more thrilling.”Ngawang Drapa put those words into practice.
NgawangDrapa论文参考资料：
结论：NgawangDrapa:thePainterwithaPurpose为大学硕士与本科NgawangDrapa毕业论文开题报告范文和相关优秀学术职称论文参考文献资料下载，关于免费教你怎么写NgawangDrapa方面论文范文。
