Ba Huang's masterpiece.

Engaged in art design and oil painting creation, dabbling in literature and photography;

Portraits are the main oil paintings, and Liu, Tibetan Portrait, Yi Costume Portrait and Yi Portrait are collected by China Art Museum, Italian, Dutch, British and other cultural institutions and scholars. Published works with Tibetan themes, such as The Temptation of Sunshine and Wasteland (album of the same name, collection of essays) and Journey of Zizankur Civilization. The former won the national prize and participated in various international book fairs, while the latter won the highest prize in Taiwan Province Province. The essay "The Temptation of Sunshine and Wasteland" was once ranked among the top ten best-sellers of literature and art in China at 1997. 1995 was interviewed as a painter by CCTV's "Son of the East" and "Outstanding Women in China".

In 2000, he published a large-scale art album "Ruins and Glory ―― A Journey of Ancient Civilization in Ali, Tibet".

200 1 published a collection of essays, Gazing at Tibet.

In 2002, Ba Huang 1987 joined the "Exhibition of Five Female Photographers in China" and participated in the "Pingyao International Photography Exhibition". From the slightly messy and lyrical sentences, I pondered the route and time of Ba Huang's entry into Tibet and Ali. The first trip to Tibet was in mid-May 1987. The first stop is Lhasa. After visiting Barkhor Street, Wang Yaoshan and large and small monasteries, I went to the Yalong River valley in Shannan area to look for antiques, and then went deep into Ali by cruiser at the end of June that year. Go along Yongcuo, Yang Zhuo, enter Gyangze via Langkazi, stop in Shigatse for a short time, then continue to the west, start from Lasz, go north at the fork of the 234-kilometer pile, cross Cuoqin and enter Shiquan River, the administrative center of Ali, along the northbound westbound. After visiting Rinpoche in Shenshan Mountain and Yongcuo on the side of the holy lake, Ba Huang continued to go southeast to Pulan County on the Peacock River, and then focused on the site of Guge Dynasty on the Xiangquan River less than 20 kilometers northwest of Zada County. Entering Ali again is the second year, which is quite dramatic and can best reflect personality. A few months before the Shigatse lecturers' group left early, Ba Huang, as a teacher, signed up for the Guge mural copying activity organized by Lhasa Cultural Management Committee. Just as Ba Huang was waiting for the car of the Cultural Management Committee in Shigatse, he met the drivers of four Dongfeng trucks who were going to pull borax in Ali Salt Lake, so he decided to go to Ali first with the drivers. After going through all kinds of hardships to reach the salt lake, which is only 300 kilometers away from Shiquan River, the female walker who was confused by altitude sickness suddenly felt lonely and confused, and made a retreat. She temporarily decided to follow the motorcade back to Lhasa and then return to Beijing. After returning to Lhasa, I met a painter who was preparing to leave from the Cultural Management Committee, so I decided to rejoin Ali with the Cultural Management Committee. At the critical moment, Ba Huang "reneged" (in the author's words), waved goodbye to the Cultural Management Committee, and took a bus to Golmud, ready to leave Tibet. On the shuttle bus to Golmud, after fierce ideological struggle, I decided to find another way and enter Ali from another direction, that is, the new Tibet line. So from Golmud to Xining, from Xining to Lanzhou, to Urumqi, to Kashgar, to Yecheng, across the boundary mountain of Kunlun Mountain at an altitude of 6700 meters to Daban, and through Shiquan River to the Guge site. The journey is more than 65438+1 00000 kilometers, and it takes1month.

If the first trip to Ali brought too much excitement to Ba Huang, then stepping into Ali and Guge's territory is actually a kind of hardship, a kind of physical torture, and even some mental helplessness. It is easy for us to see this feeling from the tired narrative in the second half, which is illustrated by repeated remorse and constant ideological struggle in the second half. In the last few articles of this book, there is a strong sense of boredom. The fifteenth "Crossing Dreams" focuses on the feeling of being depressed and confused: "My mind is still empty, and I don't know what I lost." "All illusions that can be delineated by purpose, meaning, value and passion for life have disappeared on the road of wasteland like rainbows on the plateau." "I'm listless and my eyes are hard to focus." "I felt a strange spasm, as if I had been stung by something. Things like poison spread in my body, making me feel like I have a plague. " "I feel as pale as a stone on the road." "I can't find the kind of reluctant attachment and high passion when I just left Ali a year ago." "I keep asking myself:' Are you too tired? Like a silkworm that spits out all its silk. "... these are natural reflections of Ba Huang's second visit to Ali. Altitude sickness (which can be relieved by carrying oxygen (blue pills)) afflicts the child's body like a devil, making her slow to respond, hesitant to think, and severely hit her body and mind. However, this weak woman's natural strong and persistent personality gave her enough courage and fighting spirit to survive. I wonder, if it is necessary to enter Ali for the third time, will this admirable woman have the courage to carry her portfolio and go forward bravely?

The site of Guge Dynasty is the main destination for artists to go to Ali, Tibet. These cave sites, located on a dirt mountain by the Xiangquan River, not only have spectacular natural scenery, but also contain rich mural resources, and also contain a mystery of lost civilization that can be explored by people. The kingdom of Guge was founded by the great-grandson of the last king of the Tubo dynasty around the 10 century. He fled to Ali with his relatives after the collapse of the dynasty. From the middle of the tenth century to the beginning of the seventeenth century, Guge rule the kingdom visited the western part of Tibet, promoted Buddhism and played an important role in the historical stage after the Tubo Dynasty in Tibet. The disappearance of the Guge dynasty with a splendid history of 700 years of civilization is still a mystery. It is said that in 1630, the Ladaks, the western neighbors living with Guge, used the civil strife caused by religious disputes in Guge to launch an invasion war, and the kingdom of Guge perished. The statues, sculptures and murals excavated around the site of Guge in recent ten years are the precious wealth left by this mysterious dynasty. In today's hometown of Guge, there is only one family (there was only one Tibetan named Wangdui in the 1980s) guarding the ruins of an empty city. How did the Guge people of 100,000 people disappear without a trace? What kind of natural disaster or plague made the once prosperous Guge civilization suddenly disappear without a trace?

It is with this mystery that Ba Huang explored the Guge site and achieved fruitful results. When she came back from Ariguge, she brought many different styles of oil paintings, exquisite photographs and travel notes to satisfy people's inquiry psychology. These things have been published into four influential books ... In short, after Ali's baptism, Ba Huang changed from an ordinary artist to an artist, from an ordinary woman who works at a desk to a photographer, and from an ordinary editor to a famous art writer in China. The original Cai Rong became Ba Huang, and Ba Huang was reborn as a phoenix. The halo on her head is like a cloud in kangrinboqe.

In my opinion, Ba Huang's success was bought with her life, but her fame has some inevitable elements, just like the distant and lonely Guge will be presented to the world one day. That is to say, no matter Ali or Guge, there must always be pioneers who study her, whether Cai Rong or Rollin Wang, with their religious devotion to Ali or Guge, went through various hardships of "life and death" and became Ba Huang or the Seven Wastes. Some people say that Ba Huang is the second place in Yu Chunshun, and I think it makes sense. It's just that Yu Chunshun was unlucky and died halfway, but Ba Huang was blessed by the Buddha and saved his life, so he became famous and brought secular honor.

I think, if Ba Huang gives up halfway, is there still the name Ba Huang in this world? Or has it already become a pious loess at the foot of Gangdese? At the beginning of the fifth chapter "Pilgrimage to Gangdise", the author wrote: "On the day I arrived at Shiquan River, I was told that an old lady who came from England for a pilgrimage died on her way to GangB?rge Ring yesterday, and the facial expression of the deceased was very peaceful. A year later, when I came to Shiquan River again, someone told me that a young man from England died on Gangrenqi Mountain Road last year and spent three days walking a circle. " Ba Huang didn't take part in the mountain climbing in the end. Somehow, God bless her to come out alive.

What is the purpose of this "Ba Huang-style" plateau cultural exploration that may cost life? Is it to satisfy the desire to explore? Is it the pleasure of experiencing loneliness and adventure? Is it for some high-level pursuit? Is it a high-risk investment for some kind of income? Or simply to find a suitable reason to shock the world? I discussed this matter with my friends in Shanghai before, and the other party said, what can I say if life is gone? It is selfish and irresponsible not to consider the situation of relatives. I am speechless. I thought, where's monk Xuanzang? This super adventurer is even more adventurous than ordinary explorers. Why didn't anyone say he was selfish and irresponsible? I'm a little confused.

Dr. Liu Xiaochun, an art critic, commented on Ba Huang's behavior in this way: "Her behavior is a kind of synthesis, an individualized supernormal behavior with externalized personal spiritual desires, an experience of life state and an inquiry into the meaning of life. Her spiritual inquiry has entered a state of some kind of believer. This state has no utilitarian purpose except spiritual pursuit in the real process, so it is very close to the pilgrimage of Tibetans. But she is a cultural person, and she has accepted modern culture, so her concerns are different from those of religious people. It is more appropriate to say' the journey of life'. " This passage is so wonderful that the author leads it to postscript 2. I seem to think that Ba Huang's motivation to enter Ali twice is pure.

Ba Huang first entered Ali at the age of 35. I have nothing to say about the enthusiasm of this middle-aged woman. During the trip, she only occasionally recalled her childhood home between the city and the country, and rarely involved her personal love life, except for a casual mention. She said that what she wanted was a kind of high-grade love, for which she had given up almost all her trips.

Ba Huang's prose combines sunshine, wasteland, history, death, myth, religion, art, loneliness and altitude sickness, from which we can see her inner world. There are many incisive sentences in the article, which break the connection between man and nature and become popular words. However, Ba Huang's writing obviously bears some characteristics of "new generation prose" in the late 1980s. Although it combines culture, history, art and natural landscape, it has an extra layer of academic infiltration than ordinary cultural tours, including intellectual investigation, sightseeing, searching and thinking. However, because of the aesthetic needs, the intellectual description of the article is still too thin, and the endless long lyric unreasonably affects the reader's reading process, and the widespread use of long sentences also sets a path for readers. Especially in the second half, the long monologue description of two unrealistic dreams is empty and empty, and the nightmare lyrics can't be read.