Study Of He Haixia’s Early Paintings(1908-1949)

The most representative of ancient Chinese paintings is landscape painting,which carries the social role of "education,help people".Yuan and Ming dynasties,literati painters pay more attention to "poetry","elegant" ink makes the traditional landscape painting for a long time tend to be "silent" "refined" state of mind and to decrease gradually,in the qing dynasty,in order to depict the ancients image as the main body of the "four queen" aesthetic and society on the brink of disconnect,became the fuse in the transformation of Chinese art.With the opening of the door and the change of the century,Chinese art is facing the process of transformation from tradition to modernity.At this time,the western science and technology,ideology and culture and art dynamics are constantly interrogating the disadvantages and shackles of Chinese traditional society through various forms,accelerating the outbreak of a series of domestic art ideological movement.He Haixia’s artistic experience is a mirror of the development history of fine arts in the 20th century.Looking back on the life of He Haixia(1908-1998),his green and heavy color art was initiated in the early stage of Ancient scholars,explored in the middle stage of Chang an School of Painting,and matured in the late stage of revelatory reform.In the early stage,he insisted on more than 30 years of traditional study,laying a solid foundation for the reform in the middle and late stage,just as he said:"Not superstitious ancients,foreigners,but never abandon them.Use their strengths to my advantage--that’s what I am." He Haixia with solid traditional skills and inclusive,advanced artistic concepts,opened up the green and heavy color freehand brushwork landscape innovation road,for the development of Chinese traditional landscape to explore the possibility,but also to a certain extent broke the deadlock in the development of Chinese painting.Rumor was born in five dynasties in Beijing in 1908,in his early phase of the Han Gongdian under grinding,jincheng,and chang shicheng traditional painting,drawing on new meaning,at this time of the fine arts are heated discussions about the core value and cultural significance of Chinese,he did not participate in the "national treasure"(traditional)"integration" and "westernization",Instead,it absorbs ideas from all over the world,insists on digging the value of traditional painting,and is well versed in the local characteristics of the nation.On the one hand,it keeps the bottom line of traditional Chinese painting,and uses traditional brush and ink,color,texturing method and realistic techniques to break through the boundary between the south and the north,and achieve the dialectical unity of "brush and ink standard" and "object modeling".On the other hand,he complied with the general idea of"western embellish and Middle" in the fusion school and the traditional school,followed the new ideas of color in the paintings of Jin Cheng and Zhang Daqian,and explored an innovative way that respected the basic laws of the development of Traditional Chinese painting by combining ink freehand brushwork with fine brushwork and heavy color.With the academic research on he Haixia’s paintings,we can find that his exploration of the language of landscape painting and the pursuit of internal aesthetics in his early stage are of great research value.Therefore,taking he Haixia’s early paintings as an example,this thesis explores the evolutionary relationship between he Haixia’s early copying of ancient,sketching and creation and the artistic transformation in the middle and late period by means of style analysis,image comparison and literature analysis,as well as the formation process of the green and colorful freehand brushwork landscape reform plan.Vertical analysis of he Haixia’s painting aesthetics,aesthetic evaluation and art rules,summed up the national spirit and innovative spirit contained in her early art to the contemporary art workers.