Forty Years Of Reform And Opening Up, Tibetan Theme Painting Creation Research

During the 40 years of reform and opening-up,the Tibetan paintings are the best aesthetic creation and experience to reconstruct and excavate the modern discourse and spiritual character of Chinese fine arts.Since the reform and opening-up,Chinese society has seen an unprecedented situation of modern development mixed with industry,science and technology,information and so on,the interaction and dialogue between the Tibetan Culture,the Central Plain culture and the contemporary culture,which is the collision and fusion of Western culture,it is undergoing the modern transformation of traditional resources such as cultural pattern,theme connotation,formal language and aesthetic value which is different from any period.The artists changed from "collective narration" of"heroic historical view" to "individual narration" of "civilian historical view",and the style of formal language changed from "monism" to "pluralism",jointly accelerating the Chinese art creation in the global cultural pattern in the earth-shaking position change.It has four essential characteristics:first,the 40-year reform and opening-up of Tibetan paintings is the result of the joint promotion of the national political structure,the eastern and Western multiculturalism,the Tibetan regional culture and the related fine arts infrastructure since the reform and opening-up,the theme of Tibetan paintings in the past 40 years of the reform and opening-up is based on the integration of various cultural resources and the transformation of modern aesthetic styles,thus creating a modern art form with local cultural connotation and subjectivity,in the 40 years of reform and opening-up,the evolution of the inner form language of Tibetan paintings has not only acted as the ideological vanguard of Chinese art realism aesthetics,it also testifies to the result of the exploration of modernity by the re-selection of nutrients for the internal aesthetic needs of Chinese society and culture,in the past 40 years of reform and opening-up,the Tibetan theme painting creation is an art phenomenon with political,national,artistic and contemporary characteristics,which represents the"national style" and "National Image" under the background of the integration of the pluralistic pattern of the Chinese nation and the world national culture.Therefore,it is very important to study the origin,evolution and evolution of Tibetan subject painting creation in the 40 years of reform and opening-up.The first chapter divides the Tibetan painting creation in the 40 years of reform and opening-up into three stages:the period of spiritual reconstruction and technique exploration in 1978,the period of cultural exchange and idea expression in 1990,and the period of contemporary character and noumenon construction in 2000 and 2018.From the perspectives of China/West,tradition/modern,internal/External,nation/WORLD,etc.,this paper analyzes the internal and external factors,such as political system,cultural orientation,artistic trend of thought,painter group,formal language,exhibition market,etc.,it is clearly different from the overall pattern,style,outlook,development form and value orientation of the Tibetan subject painting creation in any period.To further explore the relationship between the aesthetic connotation,artistic language,the modern discourse form of the Tibetan theme painting creation and the internal transformation needs of Chinese society and culture in the 40 years of reform and opening-up,for China’s art creation in the new era to start again to provide rich experience and ideas for reference.The second chapter is to carry on the construction to the reform and opening-up 40 years Tibetan theme painting creation Theme Cultural Connotation.The Tibetan theme painting creation is by the unique qinghai-tibet Plateau region culture,the Tibetan nationality character spiritual temperament,the Tibetan nationality tradition nationality and the folk culture difference other theme painting creation.This kind of profound Tibetan cultural connotation has once again activated the Tibetan theme painting in the modern discourse exploration of the expression of the attributes and inclusive,and shows that no era has not been broad and connotation depth.On the one hand,based on the national imagination of "Chinese Volksgemeinschaft consciousness",the artist expounds the two themes of "great unity of the Chinese nation" and "the metaphor of ’road’——A new construction and new achievement in Tibetan area",then it analyzes the relationship between the Tibetan nationality and the national identity of the state,the ethnic policy,and the economic development of the Tibetan region,the artist explores the expression of the pluralistic and harmonious culture in the Tibetan paintings through a new thinking on the relationship between "man and nature","man and society" and "man and times".Specifically,it can be divided into four aspects:the relationship between the natural environment,the image of the plateau,the embodiment of the national temperament,the depth of the traditional national festival——--The folk culture,the belief and the religious culture of the pilgrimage,it shows the evolution of the cultural connotation of the Tibetan paintings.The third chapter is an analysis of the internal composition of the formal language of Tibetan painting creation in the 40 years of reform and opening up,it is the change from the traditional form of "monism" to the modern form of"pluralism" before the reform and opening-up.Through the classification of the realistic exploration of the various kinds of Tibetan paintings and the detailed interpretation of the formal language of oil painting and Chinese painting,which have a complete appearance and a large number of works,expounding the evolution of the Internal Language Law of the Chinese art form in the 40-year Tibetan subject paintings under the realistic aesthetic ideas and creative ideas,to explore the 40 years of Chinese cultural needs and the artist’s creative psychology,observation,aesthetic orientation,art noumenon language form of the inherent logic of the emergence.The Fourth Chapter is the 40-year reform and opening-up of the Tibetan painting theme of the value and significance of research.The 40-year Tibetan paintings have played an important role in the innovation of Chinese Contemporary Art History through national imagination and theme development,style reconstruction and multi-perspective presentation.On the aesthetic deduction of humanity,the thought of "the unity of Heaven and man" and the reconstruction of human spiritual world highlight the rich cultural content and spiritual connotation of Tibetan paintings.Moreover,his works,with their strong national thoughts,feelings and aesthetic connotations,have condensed the will power of the Chinese nation and enhanced the pride and self-confidence of the Chinese nation,the National Image of the People’s Republic of China with national soul and spirit of the Times has been reconstructed.Therefore,the 40-year reform and opening-up of Tibetan painting is not only an indispensable milestone in Chinese modern and contemporary art history,but also an important visual text in the 40-year reform and opening-up of the country’s modern linear historical landscape.