安多强巴，男，藏族，1915年出生在青海省尖扎县人措柱乡麦里村，7岁在家乡的艾隆寺出家，开始自学绘画，15岁时到拉卜楞寺学习，28岁到拉萨哲蚌寺已是1942年。两年之后，也就是1944年，他在30岁的时候，应曲桑寺的施主之聘下了哲蚌去画唐卡，结果与曲桑寺管家阿尼色琼·强巴旺姆的女仆相恋而还俗。因他出众的辩才，很快被任命为复诵师，为此在寺院里小有名气。由于他更多地关注于绘画，未能继续坚持担任复诵师一职。期间一件偶然的事件向他打开了一片崭新的天地，启发了他的艺术灵感，为他日后的艺术创造奠定了基础。
安多强巴，15岁时到拉卜楞寺学习。因他出众的辩才，很快被任命为复诵师，为此在寺院里小有名气。有一次在一个僧友的屋子里，第一次看到一幅九世班禅的黑白照片，他立刻被照片的神奇效果所吸引，他说照片上所看到的五官、头发、胡须如此真实生动，甚至黑白相间的毛发都细致入微地看得出来。正是这张九世班禅的照片启发了他的心智，他对着照片画出了西藏绘画史上第一张讲求明暗关系的肖像。从此，肖像创作几乎伴随了他的一生。他说“由于我掌握传统唐卡画法的同时，能绘制写实人物画像而非常自慰。当时不仅在西藏没有能绘制写实人物像的画家，而且在安多地区的汉族画家也只画传统国画以外，没有能画写实画的画家。所以人们看到我的人物画像画得非常相像而惊奇”。虽然，藏族美术史上曾有过关于个别写实绘画的传说，但是安多强巴是直接受照相表现技术影响的最早的藏族画家之一。由于这个偶然的机遇，加上他本人的悟性与大胆探索的精神，成就了他后来独树一帜的传统藏画与写实主义手法相结合的个人艺术风格。
1940年，安多强巴从拉卜楞寺徒步来到拉萨求法，成为哲蚌寺的一名僧人。他归属在哲蚌寺果芒扎仓鲁布康村，果芒扎仓(僧院)僧人大都为青海人和蒙古人。进入这个扎仓的喇嘛习惯上要将自己的名字前面加上安多两个字，用以标识自己来自于安多地区，安多强巴这个名字也就是从那个时候开始叫响的。1944年，他脱掉袈裟走进八廓街，成为拉萨街头一位藏族画家。期间，他结识了西藏近代史上的一位奇僧——根敦群培（1903－1951）。根敦群培是西藏20世纪承上启下的一位著名学者和现代藏学的一代宗师。他涉猎的研究范围和成就几乎包括人文学科的所有领域，还有地理、考古、性学、医药学、植物学等方面，并且成就卓著。根敦群培不仅是近代藏族大学者，更是一位出色的画家。因此，他的思想和画风给安多强巴产生了极大的影响，甚至具体到绘画的样式色彩和人物造型。正由于此，安多强巴毕生都把根敦群培视为自己的良师益友和难得的知音。特别是经根敦群培的引荐，安多强巴有幸承担给当时在西藏数一数二的大宗教家、大讲经师，佛学第一，辩才第一的帕崩岗大活佛的静修院扎西曲林寺重新绘制壁画的重任。他整整画了6个月完成了这一重任，还专门为帕崩岗活佛画了一幅肖像，这是他在拉萨画的第一幅人像画，深得帕崩岗大活佛的欣赏，使他走上了职业画师的道路。

安多强巴
20世纪50年代初，安多强巴的名气在拉萨如日中天，特别是后来担任************经师的赤江活佛和藏军司令拉鲁·次旺多吉请他画唐卡肖像后，安多强巴名声大振，他的影响就更大了。1954年，第十四世************要到北京参加全国人民代表大会，成了轰动整个西藏的头等大事惰。有一件礼品最为贵重，就是镶嵌在金框里的毛主席彩像唐卡，单是打造这幅唐卡的全框，就用掉了八十两黄金。而镜框中的毛主席彩像唐卡应由一位藏族画师彩绘。当时请了几位画师，画的都不行，因为他们只会画神，不会画人。最后绘画毛主席彩像唐卡的重任落在了安多强巴的肩上。由于这一因缘，安多强巴得以进入************的宫廷，并作为随行人员于1954年8月来到北京。从此，安多强巴成为西藏画师中彩绘毛主席像的第一人！
1955年从内地返还西藏之后，安多强巴成为一名正式的宫廷画师，他为布达拉宫措钦大殿画了两幅第十三、十四世************的肖像画。两代************的唐卡。1956年，在************的夏宫罗布林卡，他创作出两幅传世名作，一幅为《释迦牟尼初次说法图》，另一幅是画满了达丹明久大殿整整一面墙壁的历史壁画《权衡三界》（十四世************坐床庆典）。安多强巴仅用了2个多月的时间完成了这两件他一生中最重要的传世佳作，也奠定了他在现代西藏美术发展史上的重要地位。在20世纪60年代初，安多强巴参与了制作《藏汉大辞典》插图的工作，绘制了宗教器皿、服装饰物、生产用具、生活用品等插图120多幅。
1979年10月，作为西藏文学艺术代表团的一员，安多强巴到北京参加了全国四次文代会，当选为中国美协理事。1981年，安多强巴当选为第一届西藏美术家协会主席。在新的大好形势下，安多强巴的艺术生涯重获新生，开始了他后半生的新的艺术创作和艺术教育历程。他陆续创作了《伟大的爱国者——十世班禅大师》《源远流长的藏汉医学交流》《三代法王像》《度母》，以及表现西藏名胜的风景画等。1998年他的办学申请得到了政府的批准，1999年学校正式挂牌成立，并以夜校办班的形式招收了第一批学员。
2002年3月28日，安多强巴与世长辞，享年88岁。

安多强巴绘画艺术题材范围广泛。
历史壁画。　安多强巴超越了单纯的宗教崇拜偶像的制作，表达出艺术家个人化的对于历史和信仰的理解，这在以往的西藏绘画史上是不可想象的。他创作的历史壁画中最具代表性的为在************的夏宫罗布林卡绘画的《权衡三界》（十四世************坐床庆典），这幅巨幅壁画中的人物有几十个之多，噶厦政府的噶伦、高僧大德、民国代表、天上众神、前世祖师等等，人物个个栩栩如生，至今鲜艳如初。
人物肖像。　肖像唐卡的创作在安多强巴的艺术生涯中也占有极为重要的地位，可以说标志着他的主要成就。他的肖像创作始于20多岁的青年时期（第九世班禅开始），几乎伴随了他的一生（1999年画噶玛巴）。安多强巴画得最多的是肖像画，这也是他他最早领悟绘画真谛的作品是从临摹九世班禅喇嘛的肖像照片开始的。后来他到拉萨以后，经过不断的探索和实践，形成了独具特色的个人风格。他的作品《伟大的爱国者——十世班禅大师》中，画面上班禅大师面部造型、衣纹的表现参考了十世班禅的肖像照片，表现手法近似于照相写实主义的风格，而法器、法座及法座上的装饰图案的处理手法以藏族传统装饰风格的精细、华丽的描绘手法与写实手法的光影变化进行了巧妙的糅合。通过写实手法，真实生动地表现了画面主人公的神采风貌，同时，又用略带传统装饰风格的背景图案的描绘和法器的描绘，增添了一份宗教绘画的超凡脱俗和神圣感。用照相写实手法描绘画面人物与强烈装饰图案的精细刻画环境相结合的画风成为了安多强巴肖像绘画的一大特色。这一风格伴随了他一生的艺术生涯，同时在广大藏区得到了发扬光大。
为度母写生。　安多强巴以女神为主题绘制了不少绘画作品，其中画得最多的是度母。安多强巴以他独有的绘画风格和审美趣味，塑造了一个独具特色的女神形象。他所画的度母给众人所呈现的绝不是肉欲和情欲，这一点是与西方文艺复兴之后艺术家们假宗教的外衣，表现人世间欲望的做法有所不同的。安多强巴塑造的是女性的神祇，是供人朝拜观想的偶像，是绘画拥有者心灵的导师，生活中的守护神，这与西方绘画中的女性形象完全不同。当人们看到画中的佛陀或度母时，他们首先想到的不是欣赏，而是迎上前去，顶礼膜拜。在虔诚的藏族百姓看来，见到开过光的佛像和度母就如同见到真佛一般无二。而民间百姓中有一种说法，认为安多强巴亲手画出的佛像就不需要再请别的喇嘛开光了，因为它已经具有了神性。
除以上题材作品之外，安多强巴也画过不少风景作品。画家用写实细腻的手法，惟妙惟肖地描绘了多姿多彩的自然景观和人文景观。同时，又以类似超现实主义的创作手法，融入了画家自己臆想的空间。画面布局奇特，富有想象力，如同他的其他一些风景作品，是集写实手法与浪漫想象力于一体的经典之作。

An Duojiang cling to, male, tibetian, was born in Qinghai to visit the village in wheat of countryside of column of arrange of the pointed person that plunge into a county 1915, 7 years old of Ai Longsi in home town become a monk or nun, begin to teach oneself brushwork, arrive when 15 years old pull Bo Lengsi study, 28 years old go to Lhasa sagacious mussel temple already was 1942. After two years, namely 1944, he is in 30 years old when, answer of the almsgiver of a Sang Si hire issued sagacious mussel to draw Tang Ka, result and Buddhist nun of A of chamberlain of music mulberry temple are lubricious Joan Jiangbawangmu's amah is in love and resume secular life. Because of his conspicuous eloquence, be appointed very quickly to be iteration division, for this little in fane famous energy of life. Pay close attention to morely as a result of him at brushwork, fail to continue to insist to hold the position of iteration division one duty. During an accidental incident opened a brand-new scope of operation to him, the art that inspired him is inspirational, for his in the future art creation laid a foundation.
An Duojiang cling to, arrive when 15 years old pull Bo Lengsi study. Because of his conspicuous eloquence, be appointed very quickly to be iteration division, for this little in fane famous energy of life. It is once in the house of a Seng You, see the black-and-white photograph of Panchen of a 9 worlds for the first time, he is attracted by the magical effect place of the photograph immediately, the facial features that he says to the place on the photograph sees, hair, beard is so true and vivid, ground of meticulous in a subtle way sees the hair of black and white even alternate with. The photograph that is Panchen of this piece of 9 worlds inspired his intelligence, he gave Tibet to photograph picture the effigies that light and shade of the first piece of be particular about concerns. From now on, effigies creates the lifetime that accompanied him almost. He says " while because I master,tradition the Tang Dynasty blocks brushwork, can scale realistically character picture and rather than often masturbates. Do not have in Tibet not only at that time can scale realistically the painter that the character resembles, and in Anduode the painter of the Han nationality of the area also paints traditional traditional Chinese painting only beyond, can not draw the painter that draws realistically. The character picture picture that so people sees me gets unusual appearance to resemble and amazed " . Although, tibetian ever had had on art history about the fokelore that draws realistically individually, but An Duojiang cling to it is to suffer directly take a picture one of the earliest Tibetian painters that behave technical influence. As a result of this accidental good luck, add the spirit of his own comprehension and bold exploration, accomplished him the individual art style that the traditional Tibet picture of develop a school of one's own and realism gimmick photograph combine later.
1940, an Duojiang cling to from pull Bo Lengsi pedestrian will to Lhasa seek a way, become a monk of sagacious mussel temple. He is attributive Kang Cun of Cang Lu cloth is plunged into in awn of fruit of sagacious mussel temple, fruit awn plunges into a storehouse (monasterial) the monk is Qinghai support of the people mostly Mongolia. The lama customarily that enters this to plunge into a storehouse should be added before the name oneself bring many word, him label of in order to comes from Yu An much area, an Duojiang cling to this name begins to cry noisy from at that time namely. 1944, he takes off cassock to walk into 8 outline street, become Lhasa street a Tibetian painter. During, a when he got acquainted with Tibetan mordern history to go up strange monk -- root Dui Qunpei (1903 - 1951) . Root Dui Qunpei is the generation great master that a of 20 centuries a connecting link between the preceding and the following distinguished scholar and contemporary Tibet learn Tibet. The research limits of his dabble and achievement include all fields of humanities almost, still geographical, archaeology, sexology, medicine learns, botanical wait for a respect, and accomplish distinguished. Root Dui Qunpei is latter-day Tibetian old learned man not only, it is an outstanding painter more. Accordingly, his thought and picture wind give An Duojiang cling to produced huge to affect, specific even the modal colour to brushwork and character modelling. as a result of this, an Duojiang cling to the good teacher and helpful friend that regards root Dui Qunpei as oneself for a whole life and god-given bosom friend. Especially the recommend of classics root Dui Qunpei, install much stronger Ba Youxing to be assumed the old religion in Tibetan count as one of the best is the home, old at that time sermon division, buddhism the first, eloquence first the static Zaxiqulin repairing a courtyard of big Living Buddha of handkerchief collapse hillock the temple is new the important task of scale mural. He drew 6 months to fulfil this one heavy responsibility full, painted a portrait technically still for Living Buddha of handkerchief collapse hillock, this is the picture of the first figure that he paints in Lhasa, get the appreciation of big Living Buddha of handkerchief collapse hillock greatly, make he was on the road of professional painter.

An Duojiang cling to
20 centuries at the beginning of 50 time, an Duojiang cling to fame is in Lhasa at the summit of one's power, after the bare river Living Buddha that holds the position of ************ classics division later especially and Lalu Ciwangduoji of Cang Jun commander ask him to paint Tang Ka portrait, an Duojiang cling to reputation is big brace up, his impact is bigger. 1954, ************ of the 14th world should attend a National People's Congress to Beijing, became the indolent of first class important matter of resounding and whole Tibet. Have a present most precious, enchase the Tang Ka of Chairman Mao polychrome in golden casing namely, sheet is the entire draw a frame round that makes this Tang Ka, used 82 gold. And the Tang Ka of Chairman Mao polychrome in picture frame should by coloured drawing or pattern of painter of a Tibetian. Asked a few painter at that time, of the picture be no good, because they can draw a look only, won't draw a person. The important task of Tang Ka of polychrome of chairman of painterly finally wool falls in An Duojiang cling to on the shoulder. As a result of this one predestined relationship, install much Jiangbade in order to enter the royal court of ************ , go to Beijing at coming in August 1954 as retinue. From now on, an Duojiang cling to the first person that chairman of wool of the coloured drawing or pattern in becoming Tibetan painter resembles!
Returned from inland 1955 after returning Tibet, an Duojiang cling to become a formal palace painter, he drew the portraiture of ************ of two thirteenth, 14 worlds for audience hall of admire of arrange of the Potala Palace. The Tang Ka of two acting ************ . 1956, in the Xia Gong of ************ Luo Bulin gets stuck, he creates a master of two be handed down from ancient times, one is " Sakyamuni the first time the view pursues " , another is a picture full amount to Dan Mingjiu audience hall full the historical mural of one side wall " balance 3 bounds " (14 worlds ************ sits bed celebration) . An Duojiang cling to an excellent work of the most serious be handed down from ancient times in using the time of 2 many months to finish these two his lifetime only, also established the significant position that he gets on in phylogeny of contemporary Tibet art. In 20 centuries at the beginning of 60 time, an Duojiang cling to participated in make " Tibetan Chinese big dictionary " pictorial works, scale the illustration such as apparatus of jewelry of religious household utensils, costume, production, articles for daily use many 120.
In October 1979, a when regard Tibetan literature as artistic delegacy, an Duojiang cling to attended 4 Wen Daihui of countrywide to Beijing, be elected for thing of Chinese beautiful assistant manager. 1981, an Duojiang cling to be elected for chairman of association of artist of the first Tibet. Below new auspicious condition, an Duojiang cling to new student of artistic career recovery, the new artistic creative work of the half a lifetime after beginning him and art teach course. He was created in succession " great patriot -- 10 worlds the Panchen Lama " " of long standing and well established Tibet Chinese medical communication " " king of 3 acting laws resembles " " spend a mother " , and expressional Tibet scenic spot landscape. His managerial application received governmental approval 1998, the school hanged out his shingle formally 1999 hold water, the form that does a class with the evening school recruited the first batch of student.
On March 28, 2002, an Duojiang cling to die, die at the age of is 88 years old.
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An Duojiang cling to range of painterly and artistic subject matter is wide.
Historical mural. Installed much stronger Ba Chao to jump over pure religion to be made idolatrously, expression gives the to the history and belief understanding of artist personification, this is in before Tibet is painterly history going up is inconceivable. Provide most in the historical mural that he creates it is what in the Xia Gong of ************ Luobulinka draws representatively " balance 3 bounds " (14 worlds ************ sits bed celebration) , this gigantic the character with a medium mural has a few, ga mansion government the founder of a school of learning of thearchy of delegate of great mind of Ga human relations, dignitary, the Republic of China, sky, preexistence is waited a moment, character each is lifelike, be like colourfully up to now first.
Character effigies. The creation that effigies the Tang Dynasty blocks is in An Duojiang cling to very important place also is had in artistic career, can say to indicating his main achievement. His effigies is created only then the young period at many years old 20 (Panchen of the 9th world begins) , the lifetime that accompanied him almost (drew Ga Ma 1999 cling to) . An Duojiang cling to those who draw at most is portraiture, this also is him the work that he comprehends painterly essence the earliest is from copy the effigies photograph of Lama of 9 worlds Panchen begins. After he goes to Lhasa later, through ceaseless exploration and practice, formed the individual color that has distinguishing feature alone. His work " great patriot -- 10 worlds the Panchen Lama " in, the Panchen Lama on the picture is facial the expression of modelling, Yi Wen consulted the effigies photograph of 10 worlds Panchen, expressional technique is similar at taking a picture the style of realism, and musical instruments used in a Buddhist or Taoist mass, law reach a way what the decorates design processing technique that go up decorates a style with Tibetian tradition is careful, luxuriant depict gimmick and realistically the smooth shadow change of gimmick had clever mix. Pass realistically gimmick, behaved the expression scene of picture hero racily, in the meantime, use what take the setting pattern of traditional adornment style slightly to depict again with musical instruments used in a Buddhist or Taoist mass depict, those who added brushwork of a religion is transcendental and free from vulgarity with divine feeling. With take a picture realistically the picture wind that figure of face of gimmick draw brushwork and the careful depict environment that decorate design strongly combine became An Duojiang the one big characteristic that Ba Xiao resembles drawing. This one style accompanied the artistic career of his lifetime, in broad Tibet at the same time the area got carrying forward.
To spend mother paint from life. An Duojiang cling to it is thematic scale with goddess many paint, what draw at most among them is degree of mother. An Duojiang cling to with his particular painterly style and aesthetic gout, modelled a goddess figure that provides distinguishing feature alone. Degree of parent that he draws giving what everybody place appears is not carnal absolutely and passional, this are with the west artists are false after renaissance religious appearance, the way that behaves the desire between the world differs somewhat. An Duojiang cling to the divine Dai that fictile is a female, it is the image that considers for person pilgrimage view, it is the adviser of painterly owner heart, the Palladium in the life, this and west draw medium woman figure differs completely. The Buddha in seeing a picture when people or when spending a mother, what they think of above all is not appreciation, before be being greeted however, go, pay homage to. Look in religious Tibetian common people, the figure of Buddha that has seen light and spend a mother to be not had as seeing true Buddha is general 2. And there is a kind of view in civilian common people, think An Duojiang cling to the figure of Buddha that draws with one's own hands does not need to ask other Lama to open light again, had had because of it deiform.
Except work of above subject matter, an Duojiang cling to also had drawn many scenery work. The painter is used realistically exquisite gimmick, lifelike the ground portrayed the natural landscape with much colorful appearance and humanitarian landscape. In the meantime, the creation gimmick with similar surrealism, blended in him painter's subjective space. Picture position is peculiar, be full of imagination, as him a few otherer scenery work, it is collect realistically gimmick and romantic imagination at an organic whole make classically.