Paradigm Shift And Discourse Formation

Around the 20 th century,China’s learning from the West was further strengthened at the ideological and institutional levels.Modern fine arts education also shifted from materialism to aesthetic orientation.As Chinese oil painting is an imported art,its learning and communication also shifted from civil and commercial paths to such institutional media channels as normal education,and specialized fine art schools.Its localization started from the academic and theoretical domains.In this sense,the formation of the discourse subject on the century-old Chinese oil painting is the result of the “paradigm shift” of modern fine arts education.The “paradigm” shift shapes the development path of Chinese oil painting,and the “legitimacy” of social activities of discourse subjects requires the construction of “discourse”.From the “discourse” of knowledge archeology,the development of Chinese oil painting in the early 20 th century can be regarded as the process of discourse formation under the “paradigm shift” of modern fine arts education.Judging from the rational basis and traditional basis of conforming to the “legitimacy” of social actions,the discourse construction of Chinese oil painting in the early 20 th century involves many aspects such as nation-states,aesthetic education,revolution,science,and tradition.If nation-state is the basis of judging value rationalities,aesthetic education,revolution and science should be the instrumental rationalities that are consistent with social values.The rational basis constructs the basic framework and contents of the narration of Chinese art history in the 20 th century,and it has important significance and value in the “contextual logic” of the era.The “traditional basis” that conforms to the discourse subjects and constructs social “legitimacy” has existed throughout the development and evolution of Chinese oil painting with the “fusion of Chinese and Western styles”,shaping the basic development direction of Chinese oil painting.As “leading and charismatic” artists in art creation and education,oil artists like Xu Beihong,Lin Fengmian,and Liu Haisu explored the “Chinese and Western fusion”.They broke through the vulgar or external fusion of early Chinese oil paintings as symbolic representations,and established the theoretical logic of “Chinese and Western fusion” from the perspective of artistic spirit,which laid the main path for the development of Chinese oil painting.Paradigm shift is to examine and describe the historical background of the evolution of Chinese oil painting in a century from the perspective of macro-society.Discourse formation,from the structural aspect of composing discourse subjects,symbolizes the “legalization” strategy of Chinese oil painting in social actions in a symbolic manner.Through the restoration of discourse,the inner logic of “Chinese and Western fusion” is sought and presented from the art ontology.The investigation of the “physical and mental” relationship of the artist,from a micro level,not only reflects both the profound imprint of social transformation,but also shows the diversification and richness of artistic practice resulting from individual differences.It is precisely the multi-level of localization that constitutes the independent value of Chinese oil paintings from Western modernity.The exploration and experimentation of “modernism” of Chinese oil painting pursue a kind of transcendence and purity in artistic form language,but on the whole it still keeps an eye on social and cultural reality,which is still a kind of “ego” state.The contradiction between subjective “ego” and “egoless” in expression brings the development of Chinese oil painting to a level of more rational thinking.“Occidentalism” and “Chinese and Western fusion” are the basic issues in the imitation and study of oil painting language.They make contradictions,but are both opposite and complementary to each other.Their intrinsic affinity is exactly the basic driving force of Chinese oil paintings in the open,diversified,and developing contemporary world.