Painting From Nature And On The Formation Of The Schemata Style In The New Landscape Painting

New China's reform movement in landscape painting not only inherited the historic style of the traditional Chinese painting reforms since the end of the Qing Dynasty and the beginning of the Republic of China, but was also immersed in the culture context of that particular era. Sole respect for realism, large-scale popular art movements, ideological criticism as well as the reform movement and others, all had resulted in a continuous and far-reaching impact on the development of the landscape painting. New China's transformation in landscape painting had established a new era norms and ideological foundation relating to issues like "To whom paint?", "What to paint?" and "How to sketch?", which motivated the landscape painters to go out of the ivory tower and go into the society and into the wild for painting from nature so as to create the new landscape paintings that keep up with the zeitgeist (the spirit of the times). Sketching from nature thus became the fundamental approach and means of reforming and innovating the landscape painting. It greatly changed the creative ways that landscape painting adopt in treating brush-and-ink seriously and looking down upon nature and its means of artistic conception procedure by combining scenery with situations since the Ming and Qing Dynasty. As a result, it correspondently strengthened the landscape painter's understanding of the nature and the creativity of the linguistic scheme. In return, a relative standstill technical skill language of the time was developed, which brought about a brand-new visual schematic revolution, resulting in a complete change of the culture concept of the leisure and suitability in the traditional landscape painting.In the process of painting, the landscape painting altar was formed in several important geographical locations such as Beijing-Tianjin group, Jiangnan group, Northwest group and Lingnan group. Two new style involving New Jin Ling painting school and New Chang An painting school, which represent the regional landscape painting, were also emerged rapidly. As regards to the painting and innovation, successive debates involving the issues of whether to accept the heritage of the Chinese painting, what's the relationship between brush-and-ink and innovations, were conducted. These arguments had a profound influence on the subsequent development of the landscape painting. As regards to the method of sketch, landscape painters had made aggressive explorations and experiments in the area like object-scenery observations, the manipulation of the nature law and its characteristics and the rediscovery of the nature. And a diversity situation of the painting from nature was presented with the further integration of the concept and method of the Chinese and Western sketch. Moreover, the landscape painters achieved ways of expression unity in the aspect of objectivity and subjectivity, in ideological content and artistic quality, in creativity and inheritance as well as the reference. New explorations and developments were also made in such field as the awareness and the treatment of the relations between mountain and river scenery and that of the brush-and-ink, the refinement and the building of the images of the landscape painting. All these contributed to the decisive role and the impact it made on the schemata style of the new landscape painting.In the fifties and sixties of the twentieth century, landscape painting presented a variety of classic themes, thus forming a distinctive artistic conception of the age. Accordingly, the landscape of the linguistic schemata style had undergone a profound evolution of the times, which was mainly reflected in the tilting of the brush-and-ink style of writing-shaped evolution, the new change and symbolic use of the color, exploration and new changes of composition and perspective, etc. The aesthetic appreciation of the landscape constantly tended to be ambitious, masculine, bright and vigorous, which made the landscape painting successfully achieve the transformation from classical to modern schema. However, it is undeniable that the new landscape painting that exist in pan-ideological mode of thinking, as well as its continuation of the early twentieth-century de-science-ism, transform the artistic idea of the Chinese painting. Undoubtedly, the landscape painting had paid heavy price of de-conceptualization and the lack of the brush-and-ink performance to a certain extent. These issues have been extended to today's progress of the Chinese painting, but only those people who take the painting as a cultural, academic public tool and examine the national identity of painting rightly can really feel the deep "cultural anxiety" in their mind.