Research On Cai Liang’s Painting And Its Historical Context

Liang Cai is one of the outstanding representatives of the first generation of oil painters cultivated in New China.As an oil painter,Liang Cai created classic revolutionary historical themes such as "Yan’an Torch","I Want to Join the Red Army","Three Main Forces of the Red Army Reunite";as an art educator,Liang Cai has influenced the development of domestic oil painting with his own artistic practice and artistic ideas,especially in the field of revolutionary historical painting creation.As artists in New China,Liang Cai and contemporary artists have shaped the Chinese art visual system in the second half of the 20 th century.In terms of historical space and time marked by events,this generation of painters has experienced the war before the founding of the People’s Republic of China;received socialist education;participated in the period of socialist construction,the "special period of revolution" and the period of China’s reform and opening up.As a symbol of culture,the artistic creation of this generation of artists deeply reflects the social changes of this era;as the exporter of "classic images",the political culture of the era has shaped the collective ideology and artistic thinking of this generation.At the same time,their artistic images have guided the cultural trend of the era.For Liang Cai’s case study,first of all lies in the stripping of his unique artistic value and combing of artistic clues that are different from contemporary painters;secondly,through Liang Cai’s case study,the group of painters of that era can "see",then we can trace the cultural orientation of society by the turn of works,and then project the art history narrative of the era,and even the logic of historical narrative.The structural analysis of the connection of works,authors,and times is the original intention of this article to study Liang Cai and his historical context in a specific time and space.The chapter organization of this article is based on the three historical divisions of the specific historical space of the research object: The Central Academy of Fine Arts period,the Shaanxi period,and the Zhejiang Academy of Fine Arts period.The research structure of these three periods will be based on the analysis of works basedon the existence of the "field" of art sociology and the logical continuity of the three scenes’ successive transformation.The research of the "Central Academy of Fine Arts" period mainly focuses on the context of Liang Cai’s own artistic language system and creative thought.At the same time,the composition of the academic system of the Central Academy of Fine Arts in the early days of the founding of the People’s Republic of China and the influence of this existence on Liang Cai’s own will be taken as "field" where the case exists to conduct research.The second part focuses on Liang Cai’s "Shaanxi period" ’s personal modeling language and the study of style formation of historical paintings.This part will be the focus of the dissertation,involving the in-depth analysis of Liang Cai’s masterpieces.Secondly,the study of the ecological composition of Shaanxi Art Association is the specific historical context of Liang Cai’s artistic language and its own existence.This connection also involves the influence of Liang Cai on the development of Shaanxi art.The third part,"Zhejiang Academy of Fine Arts" period focuses on the realistic factors and era background of Liang Cai’s artistic transformation.There are also scene changes in the artistic system.These three chapters use the work itself and its changes as clues and entry points,and at the same time relate to the composition and existence of power in the specific "art field" of each period.This parallel structure basically constitutes the main body of the article.In addition,for Liang Cai himself or Liang Cai ’s artistic achievements,the“underestimation” of art history narratives or the “ignore” of Liang Cai ’s respective system construction in different historical periods will also be demonstrated in specific "field" study of Liang Cai ’s different periods.In the last chapter,this dissertation will further explain the existence of the concept of image text and artistic features in the works of Liang Cai and some contemporary artists from the perspective of national narrative.This part of the study builds the historical context under the power discourse of the era in which the artist is living,and puts the case study into a large "power perspective" and "belief space" for observation.The narrative logic and the specific historical narrative logic from the perspective of power will be the basic grasp and factual existence of the era characteristics possessed by Liang Cai and his contemporary artists.At the same time,this is also a concrete reflection of the group of artists in the era based on individual cases.