Inside And Outside Of The United States, Harmony Seamlessly

During the period of the New Culture Movement, the Western fine arts brings deep influence on the Traditional Chinese Painting. In the cultural communication between the East and the West, it is an essential question for all the Chinese artists of how to develop the Traditional Chinese Painting at that time. Huang Binhong (1865-1955) is not only a master of painting but also a scholar, who faces the Western culture and absorbs it positively. Huang Binhong advocates his painting conception of "the planar modeling", which is "the identification of spiritual beauty with the formal beauty". As a great traditional Chinese painter, Huang Binhong contributes much to the persistent development of the Chinese Painting."The spiritual beauty of painting" refers to the integration of painter's feelings, experience, national spirits and the cultural quality; that is to say, it is Huang's essential spiritual pursuits of artistic conception. "The formal beauty of painting", the expressive medium of "the spiritual beauty of painting", refers to Huang's painting skills of using the brush pen, the ink and the formal design of the painting works. In Huang Binhong's opinion, both kinds of the beauties are the dialectical unity, which represents the dialectical relationship of the Chinese Tai Ji (太极). In the creation, as soon as the painter must devote himself to the painting physically and psychologically, the works actually reflect the painter's personality of perfect integrity. In accordance with the painting conception of "the identification of spiritual beauty with the formal beauty", Huang Binhong develops his creative power—painting instinct, by way of learning from nature and tradition, cultivating himself by reading as well as taking the skill of painting as the center of artistic practice.The present thesis is aimed to analyze Huang Binhong's modeling conception of "the identification of spiritual beauty with the formal beauty". The painting works, which present both the spiritual and formal beauties, can reach the artistic realm of the identification of self with the outer world. The author of the thesis considers the painting principle of "the identification of spiritual beauty with the formal beauty" as a unitary process of transferring directly the painter's spiritual personality into the...