The Field Scenery In One Mind To Tour And To Live

The 20th century is the new period of history for China to go into the world, and also a transtitionalperiod for Chinese painting art from classical to modern form. As an artist with special significance in thisperiod, Wu Guanzhong accounts for a special significant figure, art educationist and prose writer in Chinesepainting history. His pursuit of art in his life, his command of traditional aesthetic spirit and hisunderstanding of the western modern manual form's skill all made him a leading east and west artisticscholar. He made a graft to the western painting onto the eastern painting, formed highly personalpainting's language in Chinese scenery of water and ink but connected western painting's skill. WuGuanzhong used his painting art to build a field scenery to tour and live for us. At the same time, heexplored"painting nationalization"and"modernization of traditional Chinese painting"to surpass thedifferent countries. It provided us with a new mode of beauty appreciation for the modern artisticexploration and orientation. Wu Guanzhong's art embodies the Chinese tradition in contemporary art. Histradition runs away from the procedure's constrain of traditional Chinese painting, develops the traditionalspirit of water and ink and enriches the modes of traditional Chinese Painting and the language of form. Hemade a new mode for Chinese oil-painting and traditional Chinese water and ink-painting. He pushed theChinese artistic spirit and genres into the world. He chose between tradition and modern art, between eastand west as its starting point. So he belongs to the artistic wide sky which is extended.If we say Chinese art, to save our country from dying, and under anxiety entering modern line,explored the way to be the stronger by ourselves in 20th century. Then in 21th century how to developChinese art in diverse culture and worth, it's certain that Wu Guanzhong's artistic experience gave us animportant message. His successful mode in blending the eastern and western culture and arts has the typicalmeaning. Following the development of Chinese art, the study on Wu Guanzhong's art will be deepenedand extended, it's our duty to build artistic theory and artistic form with times'spirit, reach the intercoursewith other countries'art in harmony and make Chinese art stand up in the world's forest.The thesis is divided into five parts. Chapter One casts back sources of Wu Guanzhang's art in eastand west. Chapter Two, Chapter Three and Chapter Four are the key parts of this dissertation, spread to explore Wu Guangzhong's artistic mode in blending the eastern and western culture and arts and tryanalyzing the theoretical connotation of his"painting nationalization"and"modernization of traditionalChinese painting."They mainly analyze his pursuit for form, his exploring for scenery in one mind, and hisfeeling for art. From these, we could understand his meaning of"kites shouldn't be broken", and WuGuanzhong blended the eastern and western arts together to be the essential way of standing out intraditional Chinese culture and Chinese people. Chapter Five points out the message of Wu Guanzhong'sart in blending eastern and western arts together to us.