Modern Expression Of Chinese Color Painting

This paper is discussing the mass application of “color of Chinese paintings” inthe modern practice. In the process of resources searching, it is found that there arean increasing number of bright-colored Chinese paintings in the6thNational ArtExhibition. Based on this, this paper chooses some typical artists and through athorough research, it analyzes how the color language is applied, and focuses on thesocial influence of the rich-colored paintings in the recent years. At the same time itgives an induction to modern Chinese heavy color painting, modern watercolorfigures, what new expressions they have in colors and how it has formed. There aremany reasons why colors are wide used in modern Chinese paintings. For example,influence from current social emotions, the emotional expression of the painterhimself, public aesthetic needs, artists’ pursue in stimulation through color, and therich diversity of painting materials etc. They all have created a new space for colorlanguage to release its potential. Painting is not always about making “new” things,but keeping on creating and eliminating. It is undeniable that in the process ofcreating, we have to face the reality that we are losing our traditional technics, whileproducing skills color applying skills are empowered. This has to do with thecongenital color sense of a painter formed through his years of growing. Accordingto the recent national art exhibitions, the award-winning worksare mostly creative inproducing technics or finely painted. Surely this is resulted by the socialdevelopment rules. On one side, the emotions in painters’creating are changing withsocial development, which means it has to satisfy current social aesthetic needs; onthe other side it is due to the limitation of painters’ painting skills. They can nolonger reach the comprehension and understanding that our ancestors had towardsline and ink. Therefore they choose to make it up through colors to create a tastefulvisual effect. Through these researches, it is discovered that it is not a “past tense”for the color sense and application skills in modern Chinese paintings, but “presenttense”. Not only that, it has been diversified developed, and has a assignableinfluence on modern artist in terms of painting and creating.