Context Echo:A Study Of "One Hundred Pieces Of Album Of Du Fu’s Poetic Paniting" By Lu Yanshao From The Perspective Of"New Chinese Paniting Movenment" After The Establishment Of China

As a typical product of the context of “The uniformity of poetry and painting”,poetic painting has a long tradition of creation.In the late Tang Dynasty,Du Fu’s poetry became known as “poetic history” and began to be widely accepted by the world,and in the field of literature,it has become a common practice for scholars to study Du Fu’s poems,imitate Du Fu’s poems and annotate Du Fu’s poems.Since the Five Dynasties,painters have used Du Fu’s poetry as the subject matter for their paintings.During the Song dynasty,the relationship between poetry and painting matured,and the creation of poetic intentions by Du Fu began to flourish,gradually forming a unique tradition of painting.As a fruit of the fusion of poetry and painting,the development of Du Fu’s Poetic Painting was not only the inheritance of a painting tradition,but also the continuation of a traditional literary lineage.After the founding of New China,traditional literati painting no longer met the needs of the times,and under the guidance of new literary and artistic guidelines,the transformation of Chinese painting was inevitable,resulting in a “New Chinese Painting Movement”,which required painters to create new Chinese paintings that showed the new look of the new society and met the needs of the people,and the decline of the traditional literary lineage characterised by traditional themes and interests.In 1962,Lu Yanshao’s magnum opus “One Hundred Pieces of Album of Du Fu’s Poetic Painting” stood out from the crowd of new Chinese painting works,giving Du Fu’s poetic painting a new era and making a pioneering contribution to the subject of how the traditional cultural lineage could be revived and reverberated in the new social context.Chapter 2 of this paper,The Painting Tradition of Du Fu’s Poetic Painting,sorting out Du Fu’s poetic painting in each dynasty on the basis of an exploration of the development of the relationship between poetry and painting,concluding that as the status of Du Fu’s poetry increased,a tradition gradually developed in the creation of Du Fu’s poetic painting,which is essentially the transmission of a literary lineage;Chapter 3,The Creation of Lu Yan Shao’s “One Hundred Pieces of Album of Du Fu’s Poetic Painting”,analyses the opportunity for the creation of Lu Yanshao’s “One Hundred Pieces of Album of Du Fu’s Poetic Painting” in the context of the “New Chinese Painting Movement”,and the reasons for choosing Du Fu’s poetry for his paintings.Lu Yanshao’s approval of Du Fu’s personality,The Confucianism,critical realism and painterly edge in Du Fu’s poetry meet the needs of Lu Yanshao for self-breakthrough,change and innovation and socialist transformation.Thus,in commemoration of Du Fu’s birthday,Lu Yanshao completed “One Hundred Pieces of Album of Du Fu’s Poetic Painting”,bringing a new movement of traditional literature to the “New Chinese Painting Movement”.Chapter 4,The Artistic Value and Revelation of Lu Yan Shao’s “One Hundred Pieces of Album of Du Fu’s Poetic Painting”,reinterprets the historical status and cultural value of Lu Yan Shao’s “One Hundred Pieces of Album of Du Fu’s Poetic Painting” in the“New Chinese Painting Movement” and its inspiration for the creation of Chinese painting today.