Two Major Contradictions In The Transformation Of Modern Landscape Chinese Paintings As An Example Of Fubaoshi

Under the impact of the Eastern learning spreading westward,the transformation of modern Chinese landscape paintings faces a severe test.When we delve into the origin of difficulties in the transformation process,we can find that there are nothing but from "two contradictions".First of all,with time as the axis,thus the contradiction between the connotation of Chinese paintings and new Chinese ideology."The contradiction of Chinese paintings" refer to a kind of value and aesthetic concepts that is the result of thousands of years' accumulation before the 20 th century;while "new Chinese ideology" refers to modern value system and artistic concepts that are formed after sudden changes in the 20 th century,which reflects the divide between ancient and modern times.Secondly,with space as the axis,by which the contradiction of adhering to traditions and absorbing foreign studies is formed."Adhering to traditions" refers to the inheritance and digging of traditional Chinese paintings,while "absorbing foreign studies" mainly reflect the acceptance and learning of Western artistic concepts,values and paining skills,that is the conflict between the internal and external.In this paper,through the interpretation of "the two major contradictions",it expounds the occurrence and development of "the two major contradictions" in a macro way;then with Fu Baoshi as the representative painter,it makes a micro discussion based on "the two contradictions",and it then discusses the concept and choice he used to treat contradictions in his creation practices,which emphasizes on the profound impact of the "two major contradictions" on the creation and thoughts of painters,and it attempts to give an inspirational thinking to later generations of landscape paintings' creators with the successful experience of Fu Baoshi's artistic exploration.