The Planed Language To Reflect In Chinese Contemporary Oilpainting

Chinese Contemporary Oil Painting has entered into the international art, which not only intensifies the change of Chinese art itself, but also improves the development and exploration of its expressional language. At the same time, in the diversified creation of art, most of the artists reflect a tendency of plane vision, and occupy a large proportion in the works of artist born during 1970 to 1990. Sometimes, the three-dimensional objects are showed in an approach of multi-view decomposition object; or the so-called planar “qiyun” in their heart is reflected by artists in the brushwork of China ink painting, such as: Cun, Brush, Point, and Dye. Today, the style of artists using the way of planar language is generally mature in the process of exploration and discovery, which mainly focuses on some artists and works of much concern in recent years. To some extent, this way provides a platform for international communication, and becomes a new topic to research Chinese Contemporary Oil Painting.This paper is divided into four aspects, combined with some examples and evolution in different period of planed language in Chinese Contemporary Oil Painting. In the first part, it explains the definition of planed language, demonstrates the change of traditional painting in examples, and shows the form of planed language in different period of time. In the second part, the paper discusses the process of evolution in different time with different artists and characteristics. In the third part, the paper further demonstrates significance of practice carrier in Chinese Contemporary Oil Painting, combined with the second Mo CA Envisage and oil artists suing planed language in various time, such as Shangyang, Yueminjun, Yihui. In the fourth part, it talks about the practical significance and problems in the creation of planed language in Chinese Contemporary Oil Painting.