A Study On The Expression Language Of Qi Ang Village

Qiang ethnic minority villages lie in the western region of our motherland,and mainly distribute in regions including Wenchuan,Lixian,Songpan,Heishui,where there are towering mountains,pleasant climate and abundant resources.Located in Lixian County of Aba Autonomous Prefecture of Sichuan Province,Taoping Village of Qiang ethnic minority was first established in 111 BC,and still retains the most complete Qiang-style architectural complexes as well as folk culture and art with the most original ecology.Built tier upon tier with intricacy alongside the mountains and totally harmonious with the nature,Taoping Village of Qiang is praised as a “Mystical Ancient Oriental Castle”.It has become a universal consensus that Chinese landscape paintings were and are created with regional characteristics as the entry point,which becomes an indispensable characteristic in form for breakthrough and innovation of landscape paintings.With regional culture as the creation axis,colorfulness as the form of representation,a new road for breakthrough and innovation of modern landscape paintings has been explored.As Qiang villages are located in remote areas,previous studies on regional themes of Qiang villages and the number of recorded painters who draw thereupon have been in the few.Sorting document literature and making representation with landscape paintings as the form of representation pose not a small challenge on the author.In this paper with language of representation for regional characteristics of Qiang villages as the study subject,in-depth studies and discussions of the regional features,historical retrospection and humanistic feelings of Qiang villages were conducted in light of the author’s creation practice and experience.Chapter One is an introduction,It involves research background and significance,research status,research methods and innovation points.Study background starts from the view that the source of art creation should be the attention to reality.Study significance originates from the author’s focus on regional culture,from which the author’s drawing ideal and appeal are realized through the discussions on relevant issues of form characteristics.Study status quo is a summary of relevant articles on the studies of paintings of the region of Qiang villages.Chapter Two and Chapter Three are unfolded by mainly focusing on regional style and features,historical retrospection,and humanistic feelings in relation to Qiang villages.Thus,the visual features and content characteristics of Qiang village theme under the context of modern landscape paintings are induced,indicating that regional characteristics play an important role in the creation of modern landscape paintings.As China has a vast territory,different regional environment has produced different landscaping,bringing people different visual experiences and spiritual feelings.The display of different regional features,culture and customs reflects constant changes in people’s aesthetic orientation,values,representation techniques and lifestyles.Chapter Four summarizes and presents the author’s creation practice of landscape paintings in a centralized way.Through multiple times of landscape sketching,abundant creation feelings and experiences have been accumulated;to reach the ideal graphic effect,tools and materials were finely selected,and a large amount of Chinese ink painting experiments were done,wherefrom unexpected effects were achieved.While having grasped the Chinese ink paining skills,the author has also expanded his own knowledge scope.