汤柏华，1986年出生于湖南浏阳，2009年毕业于中国美术学院版画系，生活工作于燕郊。童年时代关于浏阳烟花时间转换的记忆，让“时间的历史和爆裂迸发”成为他感兴趣的方向，先后执导完成动画《夏虫国》、敦煌驻地项目《莫高霞光》等作品，关注于东方审美的生动力度、东方先民的鲜活品格在当下的呈现，泥巴是其作品重要的材质，怀有与古人时间对话的淳朴心意，以期传序古人心法，启发当下，连接未来。
Tang Baihua was born in Liuyang, Hunan Province in 1986. He graduated from the Department of printmaking of China Academy of Art in 2009 and lives and works in Yanjiao now.
Tang Bo Hua‘s childhood memory about liuyang fireworks time transformation, make “history and burst of time” to be the direction he is interested in.
Tang Bo Hua has directed “The Country of Summer Insects”, Dun Huang‘s residency project，the stop-motion animation“Mo Gao Xia Guang ”and other projects. He focus on the energy of the Oriental aesthetic, and the The vivid character of Oriental ancestors in the present.
The mud is an important material, his work what with the simple mind of time dialogue with the ancients, in order to pass on the ancient mind, inspire the present, connect the future.
【导演阐述 Director's Statement】
玄奘在少年时代即立下大志，要“近光遗法，远绍如来”，以他的博学，更以他无比坚韧的意志，不远万里，置死生于度外，以求真理，他是我们中华民族的精神脊梁。一千多年后，各国的探险考古者手捧着玄奘的《大唐西域记》，追溯他当年的道路，一路走到敦煌，并把敦煌文书带到西方，震惊世界。
直到今天，玄奘西行的遗迹还有很多散落在各地，离玄奘在瓜州歇脚地不远的榆林窟和东千佛洞绘有年代最早的玄奘西行图，玄奘追寻真理的精神值得我们不断学习。现代化进程快速的今天，人们更多只知道影视剧中的唐僧，而玄奘高大的身影已渐行渐远，作为年轻的艺术创作者，墨者文化团队怀揣着朝圣般的敬仰之情在敦煌鸣沙山下驻地创作，用手绘动画的创作的方式来传序古人、玄奘对于信仰、生命的一份心意。我们用敦煌莫高窟大泉河的的澄板土和鸣沙山的沙子，按三沙六土的古法，采用和莫高窟壁画墙面一样的方式制作成一块块的泥板，历时9个月，从年初的冬天到年末的冬天，完成了7分钟的动画，绘制了2000张泥板，影片的每一帧画面都绘制在泥板上。我们驻地创作的地方不远处有一座雷音寺，寺门口有一块大石，上面标注着公元644年玄奘东归时经过此处，我们创作的地方离莫高窟也不远。
我觉得完成敦煌这个项目最大的困难点在于跨越现代人和敦煌以及和玄奘的距离，这也是我要到敦煌驻地创作的原因，我想尽可能的贴近敦煌这一力量的来源，尽可能还原和唐代洞窟里壁画地仗层一样的工艺，所以每一块泥板都承载着敦煌的灵性，它们具有神圣的意义，敦煌莫高窟历经千年的营造，无数的人把他们的信仰和对艺术的追求释放在每一幅壁画中，一幅壁画就是一个时代的呈现，这个力量太大了，现代人的生活环境决定了我们，也包括我们创作者自己很难凭空就进入到“传统”之中，所以我想让自己和团队的每个人首先必须要近距离的接近这个力量的来源，按照古人的这些繁复的制作工序，解读和传序古人心意，连接当下。玄奘在经历莫贺延碛时几乎贴近了死亡的边缘，种种幻觉困扰着他，也正是在生死的一线间，他发出了“宁肯西行一步死，绝不东归半步生”的誓言，莫贺延碛就像是瘁刀的烈火，过了这一关，也就百炼成钢成为一把真正的利刃，经历了莫贺延碛的洗礼，玄奘已经脱胎换骨，从心理上完成了对于一切艰难困苦毫不畏惧视若芥蒂的升华，之后西行路上再大的困难，玄奘都没有退却半步，正是这份坚韧让玄奘终于寻取感悟到了真理并返回了出发地长安。
对于我和我的创作团队来说，我们今年的创作和完成的片子也只是我们追寻伟大精神的第一步，我通过大半年的创作得到了穿透层层距离之后的一份坚实，这份坚实凝聚在每一张带有敦煌灵性和玄奘足迹的泥板上，在由两千张泥板串联起来合成的片子里，特别感谢心得益彰基金会、一财基金会、敦煌研究院的每一位支持者，我们希望《莫高霞光》一方面能在公益模式上找到一种新的可能性，同时也是我作为年轻一代艺术创作者在现代化进程如此快速的当下对于传统传承与连接当代价值等方面做出的一种创作尝试。
影片原稿的绘制技法采用和莫高窟壁画一样的技法，影片中的一些形象也汲取了莫高窟壁画中的元素，壁画上有诸多审美和时尚现在来看都很时髦，时间有循环往复的感觉。影片开头有一段对宇宙星空的表现，这段动画采用了莫高窟第61窟甬道中的星座图像，有专家推测这些星座图是在元代绘制的，星座的形象和我们现代的形象非常接近，有专家考证在更早的隋代莫高窟就有与星座有关的图像，这反映了当时的敦煌作为国际大都市各种文化碰撞交流的繁盛场面，我们让这些还有着当代意义的星座图像以新的形式出现在片子里。在片子中间有一段三兔的表现，这段动画的创意来源于莫高窟第407窟藻井的三兔图像，因为氧化的原因，深黑色的兔子形象已看不出原来颜色的面目，三只兔子每两只共有一直耳朵，周围是层层绽开的莲花，外围是盘旋飞转的飞天，这种动静之间的强烈对比和时间无始无终循环往复的设计，体现了古人无比的智慧。
莫高窟历经千年营造，有太多太多宝贵的东西值得我们挖掘与继承，今年我们的创作完成了7分钟的影片，30人集体工作，9个月时间，绘制完成2000张泥板，正如敦煌研究院马德先生在《敦煌工匠资料》一书中写到的：“我们后世的艺术工作者只有把自己置身于历史上所有的艺术工作者、开创者队伍中，才能为艺术发挥一点光和热”，我们也以此作品向先辈们的伟大艺术致敬，更希望把玄奘的精神发扬光大。
出品: 东方证券心得益彰公益基金会、上海第一财经公益基金会、敦煌研究院
制作：北京墨者文化
When he was a boy, Xuan Zang set a great ambition to "make a legacy from the near light, so that it will come from afar". With his knowledge and perseverance, he traveled thousands of miles and risked death to seek the truth. He is the spiritual backbone of our Chinese nation. More than a thousand years later, explorers and archaeologists from all over the world, holding Xuanzang's Records of the Western Regions in their hands, retraced his path to Dunhuang and brought the Dunhuang documents to the West, which shocked the world.
To this day, there are still many relics of Xuanzang's journey to the west scattered all over the country. Not far from his stop in Guazhou, Yulin Grottoes and the East Thousand Buddhas Cave are the earliest drawings of Xuanzang's journey to the west. Xuanzang's spirit of pursuing truth is worth learning from. Rapid modernization of today, people only know more about the content of tang's monk, and xuan zang tall figure has been drifting away, as a young artist, "Ink Man“ team members are with pilgrimage admiration of love under the dunhuang China headquarters, in hand-drawn animation creation way to sequence the ancients, xuan zang for faith, life is a gift. We use the dunhuang mogao grottoes big spring river orange plate and the singing of sand soil, according to the three sand six ancient soil, use the same way and the mogao grottoes frescoes metope made into pieces of clay tablets, nine months, from the beginning of winter to the end of the year, completed 7 minutes of animation, mapped the 2000 pieces of clay tablets, films of each frame drawing on clay tablets. There is a large stone in front of the Lei Yin Temple, which marks the spot where Xuanzang passed on his return to the East in 644. We are also not far from the Mogao Grottoes.
I think the biggest difficulty in completing the Dunhuang project lies in crossing the distance between modern people and Dunhuang and Xuanzang, which is why I want to go to Dunhuang to create this film. I want to close to the source of power, dunhuang, as far as possible reduction and the tang dynasty, cave fresco, exerting the same process, so every piece of clay is bearing the weight of the spirituality of dunhuang, they have the sacred meaning, dunhuang mogao grottoes after one thousand years of construction, countless people release their beliefs and the pursuit of art in every mural, A fresco is the rendering of an era, the power is too strong, the living environment of modern decided our life, including our creator is out of thin air to enter the "traditional" very hard, so I want to make myself and the team's first everyone must be close to the source of power, according to the production process of the ancients of the heavy and complicated, interpretation and the sequence the ancients thought, Connect to the present moment. When xuan zang in mo He Yan till almost to the brink of death, the illusion bothered him, it was also in a line between life and death, he issued a "would rather the west step die, never belong to the east half step" of the oath, mo He Yan moraine like stroke of the sword of fire, after this, battle-hardened also will be a real sword, has experienced the baptism of the mo He Yan moraines, Xuanzang has become a new man. He has psychologically completed the sublimation of not being afraid of any difficulties. Then, no matter how difficult are on his way to the west, Xuanzang does not retreat even one step.
For me and my production team, we create and complete this year's film is our pursuit of the first step in the great spirit, I got through layer upon layer from the creation of the rectified distance after a solid, the solid condensed with dunhuang spirituality and xuan zang in each footprint on clay tablets, by the two images of clay in the synthesis of film together, Special thanks to Xin De Yi Zhang foundation, Yi Cai foundation, every supporter of dunhuang Academy, we hope that the "Mo Gao Xia Guang" on the one hand can find a new possibility on public welfare model, as well as I, as a young artist in modernization drive so fast the moment for the traditional inheritance and connection make the contemporary value of an experiment.
The painting techniques of the original manuscript of the film are the same as those of the murals in the Mogao Grottoes. Some of the images in the film have also absorbed elements from the murals in the Mogao Grottoes. There are many aesthetics and fashions on the murals that are now very fashionable. At the beginning of the film, there is a performance of the sky in the universe. This animation adopts the constellation images in the passage of Cave 61 in the Mogao Grottoes. Some experts speculate that these constellation images were drawn in the Yuan Dynasty, and the image of the constellation is very close to our modern image. This reflects the flourishing scene of various cultural collisions and exchanges in Dunhuang as an international metropolis at that time. We let these constellation images with contemporary significance appear in a new form in the film. In the middle of the film there is a period of three rabbit, this period of animation creativity originates from the mogao grottoes 407th wat sunk panel 3 rabbit image, because of the reason of oxidation, the deep black rabbit image has been can't see the distinctive features of the original color, three rabbits every two has been ears, is surrounded by layers of protruding lotus, periphery is hover long flying, Such a strong contrast between movement and movement and the design of the endless cycle of time reflect the unparalleled wisdom of ancient people.
The Mogao Grottoes have gone through thousands of years of construction, and there are so many precious things worth digging and inheriting. This year, we finished a 7-minute film, 30 people worked together, and it took 9 months to draw 2,000 clay tablets, just as Mr. Ma De of Dunhuang Academy wrote in the book "Data of Dunhuang Craftsmen" : "Only when we artists of later generations place ourselves in the ranks of all artists and pioneers in history can we bring some light and heat to art." We also pay tribute to the great art of our ancestors with this work, and we hope to carry forward Xuanzang's spirit.
Invested by: Xin De Yi Zhang Foundation, Shanghai YiCai Foundation, Dunhuang Academy
Produced by Beijing Ink Man
【展览纪录 Exhibition】
风景关键词第二回，广州风眠艺术空间，2014
夏虫国，杭州半野艺舍，2014
起辰，上海嘉源海艺术中心，2014
夏虫不可语冰，北京妙有艺术，2014
在路上，深圳关山月美术馆，2014
艺术澳门，北京妙有艺术，2014
在路上巡展，北京中间美术馆，大连中山美术馆，2015
春天的心志，北京季节画廊，2015
艺术北京，北京季节画廊，2015
B3 动态之再，中央美术学院美术馆，2015
B3 影像双年展，法兰克福，2015
神话，北京白盒子艺术馆，2015
花园，北京妙有艺术，2015
之 间 ， 北 京 Zoomart 艺 术 馆 ，2015
夏日寒流，上海 1933 当代艺术空间，2015
台北艺博会，北京季节画廊，2015
2015 水生，色，RICHARD KOH FINE ART, 2015
向海洋致敬，三亚海天盛筵，2015
1618 艺术生活季，深圳 1618 艺术空间，2015
汤柏华同名个展，布鲁塞尔 Sin Arts,2016
The second round of landscape keywords, Guangzhou Fengmian Art Space, 2014
Summer Worm Country, Banye Art House, Hangzhou, 2014
Qi Chen, Shanghai Jiayuanhai Art Center, 2014
Summer insects can not say ice, Beijing wonderful art, 2014
On the Road, Guan Shanyue Art Museum, Shenzhen, 2014
Art Macau, Beijing Wonderful Art, 2014
On the Road, Beijing Middle Art Museum, Dalian Zhongshan Art Museum, 2015
Mind of Spring, Beijing Season Gallery, 2015
Art Beijing, Beijing Season Gallery, 2015
B3 Dynamic Again, Art Museum of Central Academy of Fine Arts, 2015
B3 Image Biennale, Frankfurt, 2015
Myth, Beijing White Box Art Museum, 2015
Garden, Beijing Wonderful Art, 2015
Zoomart Museum, Beijing, 2015
Summer Chill, Shanghai 1933 Contemporary Art Space, 2015
Taipei Art Fair, Beijing Seasonal Gallery, 2015
2015 Aquatic, Color, RICHARD KOH FINE ART, 2015
Salute to the ocean, Sanya Sea Feast, 2015
1618 Art Life Season, Shenzhen 1618 Art Space, 2015
Tang Baihua solo exhibition, Sin Arts, Brussels,2016