Diversity Research Of Modern Landscape Painting Form

In this recent century, enormous transformation has been taken placed inChina in the aspect of politics, economy and culture. As the representation of Chinesetraditional brushwork, landscape painting has registered the variation sensitively.Compared with the drawing of Qing Dynasty which is dominated by Four Wang, themodern landscape painting is characterized with more diversity because of theamalgamation at all times and in all over the world. Especially since 90's, how torepresent self-tasting value and how to pursue the individuation have been a kind oftendency. Refer to ourselves: through this subject we will have a clearer cognition to thecomplex status about modern landscape painting and will easily find ourselves' drawingway. Therefore, there is definite theory and realism significance to discuss about theproposition. This thesis mainly discusses the diversity of modern landscape paintingwith the mainstream of its form development process and with the basis of drawingform changing.This thesis is divided into three parts. At the first part, the apparent distinctionhas been cognized between modern and traditional landscape painting. And as theWestern drawing is gradually attracted by the Chinese drawing, the traditional cultureconnotation which is supported by modern landscape drawing begins to change. Indespite of the disputed attitude about the amalgamation between the western andChinese style, it is affirmable that the multi-forms pursue which is based on the"amalgamation" will be the tendency of Chinese landscape development. Thisdevelopment is advanced altogether by the amalgamations between ancient andmodern times, between occident and China, and between traditional and moderntimes. Therefore, taking the development of modern landscape forms diversity as themaster line, the second part of the thesis starts from introducing occidental drawingskills into improving Chinese drawing, and brings forward sketch view which makesour brushwork attach more importance on reality and keeps up with searching moreconformable forms to represent the epoch spirit. The spirit scene in the societyconstruction is expressed by the new traditional Chinese painting which givespriority to the realism. And the combination between the painting form and thesketch realism sense is more compact because of the culture concept change of thelandscape drawing. In the decade of 80's, the occidental modern artistic thoughtopened the Chinese artistic evolution which is based on the aesthetic perception. Some artists broke away from the traditional painting and formed the moderndrawing style through the rebellion to tradition. How will the Chinese painting beafter the Chinese traditional aesthetic perception system was impacted? This problemhas increasingly been debated by the artists. In the last of 90's, parts of artists made achoice of regression to "traditional painting spirit" and to explore the format whichcan express individuation in the amalgamation between traditional and modern times.In the third part of the thesis, the spirit of blending selves into anything or anyconditions is expressed in the universal view of Chinese painting thought. This typeof spirit is not only impersonated nature but also a kind of ideology of "combination".Through this ideology, a kind of penetrability and amalgamation is represented. Andjust because of the amalgamation nature, the occidental painting skills and modernartistic conception of modern landscape painting are easily accepted behind of thetwo cultural collisions. The innovation consciousness of modern landscape paintingis a kind of breakthrough and a type of supplement and expansion to the intrinsicmode. Finally, the landscape drawing should be promoted by the painting formatwhich should have the principal axis of traditional spirit, have the destination ofreflecting the epoch spirit and have the exploration from the amalgamation betweenthe traditional and modern times. Accordingly, a wider space should be constructedby exoteric and multilayer thoughts and be treated by comprehensive attitude. In theface of the differentia between occidental and Chinese culture, the commonnessshould be noticed. Only through this amalgamation, the modern landscape paintingcan be more and more successfully promoted.