Gao Jianfu Painting And Its "Compromise" Thought

Jianfu Gao was a very famous artist in late Qing Dynasty and the Republic of China. He was the leader of the "Lingnan School of Painting", who played a crucial role in Chinese modern art history. His "eclectic" thought, "combining Chinese and Western forms, syncretizing ancient and modern styles", became the action guide of Lingnan School of Painting and also had a great impact on many artists in the other parts of China.Using "eclectic" thought as breakthrough point, this thesis investigates painting arts of Jianfu Gao. In vertical dimension, we research the vicissitude of Jianfu Gao's "eclectic" thought. In transverse dimension, we discuss the effect of eastward spread of western culture and Buddhist belief on Gao's "eclectic" thought and painting arts. This thesis is based on lots of Gao's art works as well as abundant literature and biography.Jianfu Gao had a fluctuant life, and his experience was extremely complicated. So his "eclectic" thought and art practice underwent constant change and adjustment. Conclusively, his creation and "eclectic" thought is divided into three distinct stages, where he had different art practices. In the early stage, his art works and "eclectic" thought was obviously transplanted from western and Japanese painting language, but the integration to traditional Chinese painting was blunt. In the medium stage, he tried to treat Chinese painting language as the center and integrate various countries' painting languages with it. In the late stage, he had a tendency to return to the "Literati paintings" and improved it with other painting languages.This thesis follows Gao's three stages of creation and "eclectic" thought, and discusses them in the same routine:firstly investigate the internal and external cause and then explore the characteristic of his "eclectic" thought.For researching his early stage of art works and "eclectic" thought, this thesis is based on the background of his oversea studying in Japan, participating in social revolution, originating a pictorial. Thereby, we conclude that his "eclectic" thought presents evident imitation, especially in some aspects as follows:1. the expression of time spirit on creation thought; 2. the creation way:eclecticism and realism; 3. advocate compromise in artistic aesthetics; 4. eclectic in form.For researching his medium stage of art works and "eclectic" thought, this thesis is based on the background of Chinese indigenous culture regressing, and analyzes the effect of controverting for old and new culture, learning from India and propagating modernism by oversea students. We conclude that in this stage his "eclectic" thought chooses traditional Chinese culture as the center and integrates it with foreign artistic characteristic, which is shown as:1. using Chinese painting language as foundation; 2. admitting the spirit and form of western modernistic techniques; 3. compromising old and new themes.For researching his late stage of art works and "eclectic" thought, this thesis is based on his painting basis, health and religion. We conclude that in this stage his "eclectic" thought trends to "Literati paintings", which is shown as:1. taking Qi (life breath) and Yun (resonance and elegance) as the highest aspiration; 2. formally emphasizing lines and brushwork rather than perspective or shading; 3. reconstructing traditional organization and style to expand the space for artistic expression.Jianfu Gao's early life and social background have a great impact on its creation and subsequently painting thought. This thesis analyzes the impact of Guangzhou's status in Qing Dynasty and trade paintings on the springhead of Gao's painting thought. Besides, Reform Movement, Self-Strengthening Movement and May Fourth Movement are also involved in discussion. We research, particularly, painting model of Gao's enlightening teacher Lian Ju, and conclude that he had an important effect on the forming of Gao's "eclectic" thought, which includes:1. traditional painting technique of flowers and birds provides basis for "eclectic" thought; 2. sketch concept provides guarantees for "eclectic" realistic painting; 3. training of aquarelle and gouache provides the bridge to compromise Chinese and foreign culture; 4. increase of theme provides foreshadowing for compromising traditional and modern themes.