集市 1990 油画 110x85cm
敬神 1991 油画 130x100cm
格桑次仁是一位十分勤奋且悟性极高的画家。他生长并生活在洒满阳光的后藏大地上。大山陶冶了他旷达的胸襟，使之明澈清亮；烈日熔炼了他如石的意志，使之豪放坚耿；河水滋润着他丰富的情感世界，使之绚丽多彩。从小拿起画笔时，他就立志以这支笔赞美讴歌他的故乡，故乡的人民和故乡人民的离与合，生与死，乐与悲……Kelsang Tsering, a quite hard-working painter with great understanding of art, was born in the Rear Tibet with abundant sunshine. The mountains in his hometown have helped develop his generous and broad heart, which is always clean and lighted. At the same time, the scorching sunshine has made his will as strong as stones. The rivers have enriched his emotional inner world, which is often colorful. When starting his career in the oil painting, Kelsang Tsering was determined to use the oil painting to express his praise and admiration for the hometown, tell the personal stories of his fellow townsmen and depict their happiness and sorrow......放生羊 1996 油画 90x100cm
赶集 1998 油画 100x90cm他的绘画道路并非平坦如镜，虽然有幸进入到西藏师范学院（藏大前身）正统深造、又在天津美院进修两年，但他不安的灵魂时时像火焰般燃烧、灼烤着他，而常常使他焦燥不安。那种不甘平庸的痛苦，力求探录的烦恼，每次发现奥秘的惊喜，心与手之间，观念与理想之间，社会现实与艺术梦想之间不断暴露出的矛盾冲突，在很长一段时间之内，他就像梵高一样处于狂喜与痛苦的折磨之中。他那颗不甘心，不死心的心脏剧烈跳荡、奔涌不息。那时候他还很年轻，创作的欲望时时都有可能像沉睡的火山一样突发，情感的巨流无论如何是阻拦不住的。许多年前，当我在日喀则地区中学一间十分破败的校舍见到他时，他抱来一大堆自己的习作，有头像、有风景，还有半身裸体人像。那双对艺术无限爱恋和执著的亮眸中，放射出强烈的敢与世俗世界抗衡的勇气和他从事的绘画事业的无限深情。后来他因成绩不凡又调入母校西藏大学任教。我们时常见面，他对艺术仍然有着强烈的挚爱与衷恋。However, he has experienced many difficulties in his career as a painter. Though he received full-time painting education in Tibet Normal College (later known as Tibet University) and spent 2 years studying in Tianjin Academy of Fine Arts, his uneasy soul often flamed and scored his inner world, often sinking him into restless state. He often suffered from pains caused by his unwillingness to stay in mediocre, from vexation when seeking the truth of life, his surprise when finding something mysterious, and the contradictions between heart and hand, notion and ideal, social reality and artistic dream. For a long time, he was inflicted by the shift of extreme joy and pains, just as Van Gogh did. At that time, his heart, which was never satisied with the current state, kept beating robustly and wildly. He was young at the time and his lust to making paintings was always ready to erupt like active volcanoes. The flood of emotions was not to be curbed. Many years ago when I saw him in a shabby school buiding in a high school in Shigatse, he was holding a pile of his paintings. Some of them were head portraits, some of them depicted sceneries and some were half-body naked portraits. His eyes were full of love and passion for the fine art, emitting his bravery to fight against the earthly world and great enthusiasm for paintings. Because of his extraordinary academic results, he was later transferred to teach in Tibet University, where he was graduated. We often met each other at that time and he still had strong desire and love for the fine art. 
路遇 2001 油画 90x100cm
远方的歌 2010 油画 120x150cm对于西藏的画家，陈丹青的油画《西藏组画》是不应该忘记的。这种中国近代美术怪胎，不但在国画界“克隆”出了大批的千人一面，万人一面人物画家，山水画家、花鸟画家。还在油画界半个世纪一味的写实，写真中窒息了许多年轻的艺术生命。格桑次仁有一段时间也在走这样一条老路，但他有着清醒的头脑与敏锐的目光、他的绘画很快就以众多的“康巴汉子”中跳脱而出，将关照的笔触从厚重的老羊皮袄变换成了年楚河畔的农人身上的氆氇衫褂，那种对生活和自然的接近，使得他的色彩由浓烈转变为素静、平和、背影多为祖祖辈辈藏族农人生存、生活的屋舍泥墙，还有飘动的窗帘，静卧的牛羊。这就从题材上最终为自己年轻的艺术寻找到了一个可靠的归宿与落脚点。而这个落脚点正好是自己祖先与父辈们生存繁衍，为之喜、为之乐、为之泣、为之歌的真实的生活环境和生存场景。这一改变不论是内陆还是西藏，只有格桑次仁是个先例。落脚点的解决必然的要求画家相应采取一种恰到好处的表现手法，以体现绘画的创作理念、展现画家的感情世界与文化修养。格桑次仁又从西藏大量的宝贵文化遗产中寻找到了古代壁画的结构与线条，打破了原有的透视、解剖和科学的色彩关系，还有内陆汉人水墨的某些技艺痕迹。这使他的画面上出现了现实生活与古老传统调和在一起之后恬静雅淡和谐安详的田园诗般的美妙佳境。这种色彩上没有了浮躁与强悍，内容上减低了不平与抗争，画中的人物心态极其平和善良而可亲可爱，不论他（她）们从事何种工作，都有一种恰如其分的吻合了人类文化共同奠定的成果美感。从野蛮洪荒、落后愚昧一下进入高尚、高雅与高级的美学层次，这种唯美主义的构成与造型，铺陈与讲叙绝无半点的低俗庸艳，而是一种纯臻的提升，从而把众多的崇尚高级，探求新奇的目光引向了至臻至善，美仑美奂的艺术佳境。The Tibetan painters would never forget Series Oil Paintings of Tibet by Chen Danqing. The moon-calf born in the modern Chinese fine art community not only "cloned"many figure painters, landscape painters and painters of flowers and birds, who had the same style of painting, in the community of Chinese painters. At the same time, the oil painters in China, for a half century, focused too much on realism, thus suffocating the artistic life of many young people. For some time, Kelsang Tsering also took the path of realism. However, thanks to his cool head and sharp vision, his paintings excelled among his peers very quickly. He shifted his attention from the old-styled sheep-skin jackets to the Tibet wool shirt worn by farmers on the bank of Nianchu River. The attention to daily life and nature has helped turned the strong and dense colors into peaceful and plain ones. His oil painting began to depict the earth-made houses and fences, where generations of Tibetan farmers have been living, as well as the swinging curtains and lying cows and sheep. As a result, he found a reliable and sustainable topic, which was deemed as a foothold. for his fine art in the initial stage. And this foothold was nothing but the real living environment and scenes in which his ancestors lived and had happiness, joy, sorrow and understanding of life. For hinterland China and Tibet, Kelsang Tsering was the first painter to initiate the change. After identifying the foothold, the painters have to adopt a proper technique of expression to demonstrate thephilosophy of paintig and reveal their inner world and cultural understanding. From the huge reserve of cultural heritages in Tbet, Gesang Ciren has found the structure and lines of ancient wall paintings. He broke away from the original perspectives, anatomy andscience-based color relations. At the same time, in his paintings we can also find some technical traces in the ink paintings in hinterland China.These features helped establish the peaceful, plain, harmonious and elegant atmosphere on his paintings like pastoral poems, which perfectly blend the real life and ancient traditions. His oil paintings have abandoned fickleness and robust style. They have also reduced grievances and fight in contents. Figures shown in the paintshave peaceful mind and are amicable, kind, affable and lovely. No matter what jobs they take, they have share the aesthetics compatible with the common characteristics of human culture. As a result, Kelsang Tsering has upgraded from the wild, barbarian, backward and uncivilized state into a lofty, graceful and senior aesthetic level. The Aestheticism structure and pattern and plain depiction are farfrom low-level and mediocre art. Instead, they represent the genuine upgrading, thus diverting the viewers' eyes that aspire for senior-level original art into the wonderful, perfect and true world of art. 古韵 2018 油画 100x80cm
油画中国化的提出与讨论已有多年，而油画即西画，油画要西化的队伍越来越庞大与臃肿，而在西藏高原上竟有一位纯正在的藏族中年油画家，在他的笔下油画中化了，油画藏化了，这使我们在惊叹他的非凡劳动与创造的同时也深深地领略了以油画的形式而包含中画蕴意的中国新油画的美丽与风采。这种惊叹不只限于格桑次仁对一种绘画形式的探求，突破，创新的成果的感动，更是西画中国化后绘画领域拓展的深层文化内涵大量地增添了东方人文情感历史沉积的共鸣与振颤。我在读解格桑次仁的油画时，更多的体悟是后藏百姓与大自然生生相息，不分分离，天人合一的安祥、快乐与协调一致的美感染着我。西方评论家认为格桑次仁的画像十九世纪法国大画家米勒的乡村绘画。米勒笔下的《拾穗者》、《晚祷》、《扶锄人》，就形式而论仍然属于厚重和块面十分肯定的传统西方画法。而格桑次仁的画法则是平涂与线条显著地占据着画面。米勒的画更多的内容为贫穷的农民劳作之后的疲惫不堪和无可奈何的神态展现。而格桑次仁的画则侧重表现农人快乐的生活场景，他带给人们的是一种可以嗅出田野花馥香的气味。画面上的人物造型适度，略带变形，神情安祥，体态端庄，似乎不是凡人而是一群劳作的神仙。这种恬淡、宁静、快乐的精神，正是大中华文化的主体精神。这正是不论是藏人或者汉人都极力表现的绘画精神，只要我们稍微留意一下西藏的众多佛教壁画和内陆敦煌的洞窟，就会看出这种精神倔强的生命力。然而，随着时代生活的变迁，这种精神在逐渐的败落与消失。而格桑次仁却用绘画的方式重新捡回了这种精神并赋予它新的活力与生命，这无疑是一个巨大的成功，给西画中化展示了广阔的前景，它应该不亚于陈丹青的《西藏组图》的冲击力与震撼感。难怪当法国秋季沙龙展的主席于格夫人一看到他的画时深感震惊，而当即邀请他参加这一举世无双、而令全球所有画人都可望而不可及的国际水准的高规格大展。The fine art community in China, for years, has been discussing about localization of oilpaintings. However, oil paintings Western paintings in nature. And more and more oil painters are inclined towards Western paintings. However, on the Tibet plateau, there is a middle-agedpure Tibetan oil painter whose oil paintings have been localized and even Tibetan. Amazed at his extraordinary works, we are also touched by the beauty and style of new Chinese oil paintings, which adopt the form of oil paintings but carry the atmosphere and style of Chinese paintings. We are not only moved by Kelsang Tsering'spursuit, breakthrough and innovation in painting form. More importantly, we are also shocked by and echo with the oriental culture, emotions and history that are added to the field of Western paintings after they are localized. When trying to interpret the oil paintings of Kelsang Tsering, I am deply moved by the peace, joy and harmony between the Tibetan people and nature. The Western critics think the paingtings by Kelsang share the style of countryside paintings by the great French painter Miller in the 19th century, Miller's paintings, such as the Gleaners, the Evening Prayer and the Man with the Hoe, still adopt the traditional Western painting skills because the form is quite heavy and affirmative. Nevertheless, in the paintings of Kelang Tsering, we can find the even spreading and lines taking most part of the paintings. In Miller's paintings, he often depicted the fatigue and helplessness of farmers after the hard field work. But the paintings of Kelang Tsering focus more on the happy life scenes of farmers, bringing the arrogant field taste to the viewers. The figures on the paintings have proper pattern with a little deformation.They often have peaceful expressions and elegant stature, looking like working immortals instead of mortal people. And such peace, plainness and happiness just represent the essential spirit of the Chinese culture. And this painting spirit is just what the Tibetans and Chinese painters try to express. If we give some attention to the many Buddhism wall paintings in Tibet or the painting caves in Dunhuang, we can find the persistent and robust vitality of the spirit. However, as the lifestyle changes, this spirit is gradually decaying and even disappearing. In the form of paintings, Kelsang Tsering is reclaiming this spirit and instilling new dynamics and life into it. He has made a great success by presenting the broad prospect for the localization of Western paintings. His paintings produce the same shock and impact as the Series Paintings of Tibet by Chen Danqing. When Madame Yugert of Le Salond'Automne saw his paintings, he was greatly shocked and invited him to attend this high-level international exhibition, which is desired most by the famous painters in the world.
格桑次仁
1958 生于西藏日喀则市
1978 毕业于西藏师范学院（西藏大学前身）
先后到天津美术学院、清华美术学院、法国巴黎国际艺术城、美国佛蒙特艺术中心学习、交流、访学
现为中国美术家协会会员、教育部美术教学指导委员会委员、中国油画学会理事、西藏美术家协会顾问、西藏油画学会主席、西藏大学艺术学院教授、博士生导师，享受自治区特殊津贴，中国文联授予“德艺双馨艺术家称号”
主要作品参展及获奖情况：
2022 2022日本福冈“亚洲艺术双年展”
2021 第四届雪域情—西藏油画展
2020 西藏油画学会抗疫情在线美术作品展览
2020 北京——拉萨西藏美术作品展览，北京宋庄朗坤美术馆
2018“融合中的不同”中国当代艺术家作品展展览，德国柏林
2018 十三名西藏油画家提名展
2017 作品《村寨印象》应邀参加俄罗斯列宾美术馆展出
2017 雪域情——第二届西藏油画作品展览，西藏拉萨
2016 可见之诗——中国油画风景展
2015 青山绿水——西藏油画风景展，西藏拉萨
2014 在美国佛蒙特艺术中心举办个人作品展览
2014 高.高原第四届中国西部美术展油画年度展，西安
2012“魅力西藏”中国油画展览，北京
2011 中国共产党成立90周年中国油画展，北京
2011 第十一届全国美术展览（油画作品展），湖北
2010“魅力西藏”首届北京品众西藏油画展，北京
2010 研究与超越第二届中国小幅油画展，北京
2010 烈日—西藏当代艺术展，宋庄美术馆，北京
2009 美国克罗拉多州艺术作品展
2003 第三届中国油画精品展览，北京
2000 20世纪中国油画展
1996 后藏农夫系列作品在日本东京西藏画家作品展览中展出
1994 第二届中国油画展览，北京
1994 第八届全国美展优秀作品奖，北京
1993 蒙德卡罗国际现代艺术展，摩纳哥
1993 法国秋季沙龙，巴黎
1992 巴黎洗衣船画廊举办个人作品展
1986 第六届全国美展，北京
Kelsang Tsering
1958 Born in Shigatse, Tibet
1978 Graduated from Tibet Teachers College (predecessor of Tibet University)
He has studied, exchanged and visited in Tianjin Academy of Fine Arts, Tsinghua Academy of Fine Arts, Paris International Art City, France, and Vermont Art Center in the United States.
Now he is a member of the China Artists Association, a member of the Art Teaching Steering Committee of the Ministry of Education, a director of the Chinese Oil Painting Society, a consultant of the Tibetan Artists Association, the chairman of the Tibetan Oil Painting Society, a professor and doctoral tutor of the Art College of Tibet University, and enjoys the special allowance of the autonomous region, Awarded the Title of "Artist of Virtue and Art" by the Chinese Federation of Arts and Culture.
Major works exhibited and awards:
2022 2022 "Asian Art Biennale" in Fukuoka, Japan
2021 The 4th Snowland - Tibet Oil Painting Exhibition
2020 Tibetan Oil Painting Society Anti-epidemic Online Art Exhibition
2020 Beijing—Tibetan Art Works Exhibition in Lhasa, Langkun Art Museum, Songzhuang, Beijing
2018 "Difference in Fusion" Exhibition of Chinese Contemporary Artists, Berlin, Germany
2018 Thirteen Tibetan Oil Painters Nomination Exhibition
2017 The work "Impression of Village" was invited to participate in the exhibition of Repin Art Museum, Russia
2017 Snowland - The 2nd Tibetan Oil Painting Exhibition, Lhasa, Tibet
2016 Visible Poems - Chinese Oil Painting Landscape Exhibition
2015 Green Mountains and Clear Waters - Tibetan Oil Painting Landscape Exhibition, Lhasa, Tibet
2014 Held a solo exhibition at the Vermont Art Center, USA
2014 Gao. Plateau 4th Western China Art Exhibition Oil Painting Annual Exhibition, Xi'an
2012 "Charming Tibet" Chinese Oil Painting Exhibition, Beijing
2011 Chinese Oil Painting Exhibition of the 90th Anniversary of the Founding of the Communist Party of China, Beijing
2011 The 11th National Art Exhibition (Oil Painting Exhibition), Hubei
2010 "Charming Tibet" The First Beijing Pinzhong Tibetan Oil Painting Exhibition, Beijing
2010 Research and Transcendence The 2nd China Small Oil Painting Exhibition, Beijing
2010 Scorching Sun—Tibetan Contemporary Art Exhibition, Songzhuang Art Museum, Beijing
2009 Colorado Art Exhibition
2003 The 3rd China Oil Painting Exhibition, Beijing
2000 20th Century Chinese Oil Painting Exhibition
1996 Post-Tibetan farmer series works were exhibited in the exhibition of Tibetan painters' works in Tokyo, Japan
1994 The 2nd Chinese Oil Painting Exhibition, Beijing
1994 Outstanding Work Award of the 8th National Art Exhibition, Beijing
1993 Monte Carlo International Modern Art Exhibition, Monaco
1993 French Autumn Salon, Paris
1992 Solo exhibition at the Laundry Boat Gallery in Paris
1986 The 6th National Art Exhibition, Beijing
