帕桑・托布傑 PASSANG TOBGAY

Passang Tobgay（b,1984），2006年畢業於不丹廷布國家傳統藝術與手工藝學院。隨後，他在不丹Choki傳統藝術學校擔任高級唐卡教師。2010年，Passang 前往荷蘭阿姆斯特丹的Gerrit Rietveld Academie皇家藝術學院學習當代藝術與設計，並於2021年返回不丹專職創作。

Passang 的創作過程深受不丹傳統繪畫和文化的影響，試圖融合神聖與世俗、標誌性與普通性、過去與當代。他從不丹的古典繪畫中獲得靈感，並操縱這些形式，創造出具有抽象特徵的作品，繼承了這種基本且善的感覺，同時也融合了對西方繪畫風格的熱愛，致力於將兩者結合，創造出色彩繽紛、充滿活力的現代風格與不丹傳統藝術的融合體。

Passang 的作品從傳統唐卡技法與不丹傳統神話出發，結合當代藝術的圖像，創作出深具個人風格的藝術品。他的創作主題著重於個人生命經驗與記憶，以及不丹當代社會發展的過程，因此他的繪畫作品可以視為不丹當代文化記憶的傳承與再現。他使用來自天然的礦物顏料，運用不丹唐卡的技法和金泥敷色渲染而成。他的創作旨在傳達世界和平與人類和諧的重要性，通過當代藝術的實踐來傳播佛教哲理，這些作品不僅帶有現代審美的視覺體驗，同時也融合了具有數百年歷史的不丹傳統唐卡繪畫技巧。

Passang 的創作包含了不丹傳統紡織品和服裝的圖案、顏色和質地，賦予畫作一種觸覺和戲劇性的元素。他專注於色調和細節之間的關係，並從不丹傳統藝術中汲取靈感，將自然的大地色和彩色顏料融入作品中，探索自然色彩的質感和美感。Passang 同時深受日本傳統繪畫風格和亞洲文化的影響，並將這些技法與自己的風格相結合。他也深受早期不丹唐卡大師的啟發，致力於將古典技術帶入現代繪畫，使其能夠回顧過去並從中學習。Passang 通過描繪繁複的圖紋、以金泥和各種天然礦物顏料來呈現畫面豐富的寶石質感，使觀者在欣賞作品的同時能感受到愉悅與平靜。

Passang 的藝術不僅是對不丹傳統唐卡繪畫和當代藝術的融合探索，更是一種精神層面的表達。他希望與觀者交流難以言述的美感和藝術理念，同時體會到內心的寧靜與和諧，並在這個過程中感受到不丹傳統文化的深刻意涵。

Passang Tobgay (b. 1984) graduated in 2006 from the National Institute of Traditional Arts and Crafts in Thimphu, Bhutan. He then served as a senior thangka teacher at Choki Traditional Art School in Bhutan. In 2010, Passang ventured to the Gerrit Rietveld Academie in Amsterdam, the Netherlands, to study contemporary art and design, returning to Bhutan in 2021 to focus on his creative endeavors.

Passang’s creative process is deeply influenced by Bhutanese traditional painting and culture, striving to meld the sacred with the mundane, the iconic with the ordinary, and the past with the contemporary. Inspired by classical Bhutanese paintings, he manipulates these forms to produce works with abstract features that carry a fundamental and virtuous sensation, while also integrating his love for Western painting styles. His mission is to blend these influences to create vibrant, modern styles that encapsulate the essence of Bhutanese traditional art.

Employing traditional thangka techniques and Bhutanese mythological themes and incorporating contemporary art imagery, Passang forges a very distinct personal style. He uses natural mineral pigments, applying them with traditional thangka techniques and gold embellishments, adhering to his cultural roots. His themes focus on life experiences and memories, as well as the evolution of contemporary Bhutanese society, making his paintings a continuation and representation of Bhutanese contemporary cultural memory. Most of his works aim to convey the importance of global peace and harmony, spreading Buddhist philosophy through the practice of contemporary art, offering not only a modern aesthetic experience but also a fusion of centuries-old Bhutanese thangka painting skills.

Passang’s work includes patterns, colors, and textures from traditional Bhutanese textiles and garments, lending tactile and theatric elements to his paintings. He focuses on the relationship between hues and details, incorporating earthy and colorful pigments to explore the texture and beauty of natural colors. He was also influenced by the Japanese traditional painting styles and the broader Asian culture, adopting techniques from different cultures, and mixing them with his own. Just by looking at concepts and styles, it is clear that Passang’s art is multi-cultural. 

Amidst the integration of cultures, Passang ensures that his own culture is not eclipsed in his art practice. Inspired by early Bhutanese thangka masters, he is committed to bringing classical techniques of his heritage into modern painting, allowing reflection on the past and learning from it. By depicting intricate patterns with gold and various natural mineral pigments, Passang’s work presents a rich, gem-like texture that allows viewers to experience pleasure and tranquility.

Passang’s art is not only an exploration of merging Bhutanese traditional thangka painting with contemporary art but also a modern spiritual expression. He aims to communicate ineffable beauty and artistic concepts with viewers, experiencing inner peace and harmony in the process, while deeply engaging with the profound implications of Bhutanese traditional culture.