Wu Guanzhong On Artistic Ideas

Wu Guanzhong is one of the most influential artists of Chinese painting field in the twentieth century. he inherited the art theory of ’the combination of Chinese and Western’from the modern art master Lin Fengmian, learnt both Western and Chinese painting manifestations, wandered between’figurative’ and’abstract’,’shape’ and ’artistic conception’, and found a developing way of Chinese painting of’fuse of Chinese and Western’. With the basic of this practice, Wu put forward the art thinking of’fuse of Chinese and Western’, and made a great influence on solving the problems of the relationship of’Eastern and Western’,’Tradition and Modern’ in Chinese painting development.Basing on development of history and through the way of analysis and generalize, this thesis makes the research of Wu Guanzhong’s art thinking. Chapter one is the introduction of the thesis, it is about the current situation of the present academia, which researches Wu Guanzhong’s art thinking, and it also introduces the reasons and the significances of choosing this topic. Chapter two begins from Wu’s life experience and analyzes the influence on his following art thinking, which is caused by his choice of art in different period. Chapter three is the main body of the thesis, it researches Wu’s art thinking of ’the beauty of the painting style’,’the kite with thread’,’nothing to do with painting utensils’,’the way goes with the emotion’, which are representative and have influence. The first section indicates that Wu Guanzhong advocates the beauty of the painting style. He points out the wrong understanding of painting style, which is caused by traditional judgment. And also emphasizes the structure of the basic elements as points, lines and faces, pursues the performances of the beauty of style, which are made from the combining of’style’ and’artistic conception’, thus reflects the returning of Wu’s ’subject position’of painting style. The second section puts forward the creation standpoints of Wu’s ’people painting’. He emphasizes that painting should be combined with people; the creation of works of abstract style should be back to life. And he also emphasizes that painting works should be compared on the field of global art. Thus it reflects Wu’s painting pursue of ’nationality’ and ’worldwide’. The third section indicates Wu’s opinion of the development of traditional painting utensils. He denies the comment and the habit of ’painting utensils is that all’ of Chinese painting, and emphasizes that ’painting utensils’ is the carrier of the expression of emotion, and also emphasizes ’painting utensils go with the time’. Thus it reflects Wu’s innovation of the old style of painting utensils. The forth section points out that Wu Guanzhong emphasizes the expression of works emotion. He emphasizes the controlling position of ’techniques’ caused by’feelings’, and puts forward to get the profuse art feelings of artists through ’paint from life’, which reflects that Wu Guanzhong pursues the ’beauty of artistic conception’of painting works, which is made from the mixture of passion and view. Chapter four mainly discourses about the reasons of Wu’ s conformation of art thinking. It points out that the internal and the external reasons of Wu’s conformation of art thinking are because of his sense of responsibility, his education background, which merges Chinese and Western. Chapter five points out the influence of the fields of painting and art criticism, which is caused by Wu’s art thinking. Finally, in the epilogue of the thesis, it summarizes the two characteristics of Wu’s art thinking, which are’fuse’ and ’passion’.