The Road Inward:A Study On Contemporary Chinese “Rural Landscape” Watercolor Painting

In the more than 100 years since watercolor painting was introduced to China,landscape painting has occupied half of the rivers and mountains,which has a great relationship with the fact that watercolor painting was mostly used for wind collection records and basic color training.However,the times are developing,and the requirements and ideas of artistic creation are also changing.Under the cultural background of the 90 s of the 20 th century,the creative vitality of artists greatly stimulated and changed the previous visual experience and way of living.The artist’s discourse shifts from a large,unwarranted humanistic concern to a concern for the reality of Chinese society and a concern for the survival of the "individual".What does China’s watercolor look like today? What qualities does it have? What is the potential? What prospects can be seen? The author hopes to help me enhance my understanding of watercolor art and inject vitality into my personal creation.This paper will focus on the research scope of contemporary watercolor painting on landscape themes,and after combing the works,try to borrow the concept of "countryside" from human geography,limit "landscape",and guide the visual exploration by such concepts.Starting from the contemporary Chinese rural watercolor landscape,we can understand one aspect of China’s current watercolor painting,and then hope to explore the characteristics and potential of contemporary Chinese rural watercolor landscape,and bring enlightenment to watercolor creation.On the basis of graphic arrangement,the author discusses from the perspective of art practitioners rather than theoretical researchers,and in line with the principle of works first.This article discusses from four aspects.Firstly,it analyzes the background and current situation of development,focusing on "change",which paves the way for the subsequent research of rural watercolor landscape works.The second part focuses on the analysis of the works,grasping the general appearance of contemporary Chinese rural watercolor landscapes,and analyzing them from three aspects: form and content,diversified styles,artistic exploration and cultural concepts.The third part focuses on case studies based on the analysis of the work,highlighting the relationship between contemporary rural watercolor landscapes and China,the world and the individual artist,and boiling this connection to personal inquiry.Whether it comes from the essence of traditional culture or absorbs the nourishment of world art,the connecting point in the middle is the individual artist,so the whole text is summarized in this section as the "inward path".The fourth part is the author’s personal practice and perception of rural watercolor landscapes.