The Transformation Of Vision In Comtemporary Painting

Traditional culture has a profound influence on the manifestation of contemporary visual art language. Both in the viewpoint of art history and art psychology, social, historical and cultural factors all play a very important role on the transformation of visual forms. It is especially true for China, a country with such profound culture and long history. Without doubt, Chinese traditional fork culture is a non-negligible part of the whole system of Chinese culture and art. In addition, as one of the Chinese traditional art, fork art has various elements and unique manifestation, further enlarging the possibility of language manifestation in artists’ creation of work. In the spiritual level, the influence of art on works can also be obvious. But the mining and interpretation of traditional fork art is not achieved overnight. Instead, a process of transformation is needed. Since Chinese traditional art, itself, is extensive and profound, fork art has come into a diversified and distinctive regional art system. Even in this age, with tremendous change of science and technology, the importance of traditional fork art still can not be ignored. Especially on the background, where commercial phenomenon is increasingly strong, people especially can not live without traditional fork art, since it contains profound cultural connotation and deep aesthetic idea.In the various fields of modern visual art, this dissertation mainly discusses the transformation of folk art factors into contemporary painting. The first chapter of the dissertation will briefly describe the formation, features and aesthetic value of the folk art. In the process of the formation and development of folk art, the body and ways of manifestation have fully developed and perfected, therefore forming a unique style. Some typical forms of folk art are New Year picture, folk paper cutting, tiny carving, kites, and folk toys and so on. The second chapter analyses the present state of contemporary painting and folk art and discusses the inner connection between them so as to answer the question why there is the phenomenon of transformation of folk art factors into contemporary painting and the effectiveness of this phenomenon. The third chapter studies the artists who succeed in transforming folk art factors into contemporary painting to explore the art pattern and art appeal that folk art factors demonstrate in the transformation. The artists analyzed include Liming Gu, Shengzhong Lv and Zhongli Luo. The fourth chapter summarizes the practical significance and influence of the transformation of folk art factors into contemporary painting. This paper attempts to explore one of the traditional arts:fork art’s language and formation and discuss about the possibility of the use of fork art elements as well as the contemporary visual psychology’s disruptiveness of traditional arts. Through the process, the writer can make clear of the relationship between the contemporary art language and art’s nationality and then achieve the development direction of contemporary painting art through "vision’s subversion and restructuring", which is manifested in the use of fork art element. Finally, the writer tries to do a deeper exploration of the art creation.