Ancient Theme In Chinese Painting History Painting "writing Experience

"The introduction" of this article has carried on the limits of the concept of "historical painting". It believes that "the historical painting" should meet three conditions: First, it should take "the historical event" as the content; Second, the historical content and the embodiment description which the work unfolds must conform to the history to be real; Third, the work must manifest author's artistic creation, not only the mimic of the historical events.The first chapter mainly elaborates the source, course and tradition of the west "historical painting". It carrys on a comprehensive elaboration to the formation and the development of "the historical painting", and proposes that the 17-19th century was the peak of the west "historical painting" development. It also has carried on the introduction and the analysis to the important works in the development.The second chapter mainly elaborates the source , course and tradition of the Chinese ancient "historical painting". It believes that in the ancient times China did not have the concept of "historical painting", but the "historical painting" was actually a well-established existence, which can not allow to be neglected. Before Song denasty the drawings which took the character as the core had always been the mainstream of Chinese painting, including the "historical painting" which descripted the historical events, and the historical character painting which mainly portrayed people. From Tang to Song danesty is the the creation peak of the Chinese ancient "historical painting".The third chapter discusses the creation and insufficiency of Chinese "historical painting" in modem times. It proposes that Xu Beihong's "Tian Heng's 500 Warriors" is the symbol of the production of Chinese "historical painting", and has carried on an elaboration to the rise and fall fluctuation and each kind of phenomenon of Chinese "historical painting" in recent centuries.The fourth chapter connecting the creation practices of the author's ancient theme "historical painting", proposes that the humanities concern was the starting point in the theme selection of Chinese ancient "historical painting". The "true history" is the principle in Chinese ancient theme "historical painting" creation. It belives the success of "historical painting" lies in the manoeuvre of the various art medium beyond the "true history" .The "epilogue" concerns the significance of "historical painting" in setting up the national image, promoting the national quality, enhancing the national self-respect, self-confidence and sense of pride, carring on the patriotic education to the people, as well as raising, enhancing the noble art interest and the esthetic ability of the people, and it proposes we could not neglect the ancient theme oil painting creation.The author is ambitious in the creation of "historical painting", the related discussion in this article is also for this reason. The feature of this article is the combination of the author's own creation with the problem discussion, hoping this can contribute his own strength to the development of the Chinese "historical painting" creation.