Yunnan’s "Contemporary Oil Painting":the Entanglement Of Modernity And Locality

This paper attempts to examine the development and status of Yunnan’s contemporary oil paintings from "Modernity" and "Locality". According to their respective basic structure of the tension space between Instrumental Rationalism and Aesthetic modernity, and the possibility of tending to superficiality or profundity, combine that with the historical facts of Chinese contemporary art since the early1980s, present that complicity or differences of the two formed some tangled meaning driving force. This driving force is a development mechanism exists in reality.Through contacting and comparing the relative text by critics and creators, we could draw the conclusion that the Modernity of Yunnan’s Contemporary Oil Painting is the trend of the times, which based on the overall state of chinese society in transition, creators think and process social problems or perceptual experience in order to reach subject value. And the Locality of Yunnan’s Contemporary Oil Painting includes,"normalization of the differences" and "traditional fuzzy" what caused by natural,"life will" and "survival experience" what caused by autopsyche. However, in the actual creation, these connotation will not be fully reflected, creators always make a choice in their situation, and being in three types of state:from Modernity to Locality, from Locality to Modernity, the symbiosis of Modernity and Locality. Additionally, in art-environment, urban community and native community also point to Modernity and Locality. Moreover, on the terms of the accumulated influence and the academic value of two types communities, the conflict and dialogue by Modernity and Locality at macro level will continue. This is bound to affect the future development of the contemporary oil paintings in Yunnan.