On The Kaii Higashiyama Concept Of Color In Painting

As the ancient Japanese art of Dunhuang murals for reference and develop a clear, they followed the tradition of ancient Chinese paintings and color in the context of the main line. The use of the paint, painting the basement and so the continuous advance of technical level and innovation, and the formation of ancient Chinese traditional painting is inextricably linked to, but distinct from the ancient tradition of Chinese landscape painting, Japanese painting, color for the decorative Preference for empty, quiet expression of aesthetic emotion has its own unique character of this nation. In creating a Japanese style, they also meet the aesthetic taste of the modern style of painting. The Higashiyama is Japan after World War II's most famous landscape painter, he and Hirayama, alpine Tatsuo and become a modern Japanese painting of the "three big mountains", he for the Japanese contemporary painting art development and innovation have a significant impact.Higashiyama landscape through the work of color view of this case, that works Higashiyama and indifferent with colorful, gorgeous and unseen, the color of the opposite view of this, but this Higashiyama and consistent with contemporary color view Oriental aesthetic needs painting. In today under the impact of multiculturalism, we should expand the basis of cultural self-confidence, choice and learn from this outstanding foreign culture and art, so that digging and expand the performance of contemporary Chinese painting means in the form of a rich vocabulary of contemporary visual art, The paintings reflect the spirit of the times with the addition of contemporary life and adapt to the promotion of international exchanges of the new formulation. Heavy color painting of contemporary development and innovation it is necessary to maintain its excellent traditional aesthetic taste, but also, and thought the concept of the integration of modern art, so in keeping the essence of national culture on the basis of healthy development.In this thesis, document analysis, by means of their own Higashiyama conducted step by step written essays Reorganizing the literature. Consists of four parts, the first part of the Higashiyama discussed the background of paintings, mainly from the cultural background and social background of these two point of view of Higashiyama paintings and works of artistic value the spiritual content of value.The second part of the Higashiyama painting with the color concept, from the colorful flowery, indifferent to the unseen, subtle colors and deep view of these three concepts in a more systematic combing, combined with the specific work that he is unique in the Japanese art of National mood of beauty.The third part starting from the basis of practice for painting Higashiyama this important painting in the colors of elements is discussed. Kaii Higashiyama work around the colors that have decorative, symbolic, peaceful discussion of these three features to note.Part IV explore the concept of color Higashiyama of contemporary painting. Color Picture of China and Japan through the comparative analysis of the painting shows in his art bears a strong east, while to some extent to meet the aesthetic needs of modern people and the national spirit of exploration.Kaii Higashiyama color view is color in the East based on the concept of inheritance innovative, contemporary. Enlightenment heritage that we need to explore the color for the Chinese painting and the expression of the aesthetic realm of contemporary conversion. Thought for the color system of Chinese painting, how to inherit and carry forward the peak in the Tang and Song Dynasties color context. In the new era of aesthetic ideas of how to color inheritance and innovation.