On The Painting Language Of Taihang Landscape Painting

In terms of the primary elements of Chinese paintings--drawing language,this thesis probes into delineate problems of Taihang landscape paintings objectively so as to suggest some viewpoints and thought about the paintings.Since the 1980s,Taihang landscape paintings have affected us greatly.Their magnificent style of arts has become a shining scenario of modern art,and we can see quite a lot of works on appraising painters of some kind.In constructing Taihang landscape paintings,it is of great importance to study the formation of painting language,which is worthy of further researching.To examine the process of forming painting language,two aspects are to be concerned:tradition and nature.Traditionally, we must learn and use the techniques resulted from draws painted in Wudai,the Song dynasty,Ming Qing,and from those painted ever since.Naturally,painters are out to get involved in daily life,they observe and draw,which makes the Taihang landscape paintings not only have strong but lively geographical characteristics,but also have a primary,deep spiritual essence of the nature.When it comes to tradition and nature, although painters agree to common orientation of value,they differ to each other with respect to attitudes and inclinations.This is exactly telling us that the painting style of Taihang landscape paintings has both a totally strong-willing features and a fresh characteristics of individual.The representation and concern of natural spirits and humane extensions have two kinds of influence.On one hand,they show modern painters historical seeking for lofty spirits and their respect or defense for traditional belief of culture.On the other hand,they express the orientation of value and text meaning of Taohang landscape in modern society.However,for lack of lively elements of the age,painting language gradually becomes something fuzzy and general as "conceptualize" or "self-linguistics",and then,to some extent,it deviates from humane spirits and produces a conservative culture.This kind of painting style will inevitably go to conservation,deficiency and stiffness,which make itself a paradox in modern cultural context.This is a paradoxical existence of drawing language of the modern Taihang landscape paintings:though the language has the value of existing,it has to confront its deficiencies and problems.Nevertheless,it is this existence that predicates the inertial potential livelihood of the style and its possibility of development in the coming days.In my opinion,it is of little value to confirm the would-be development of the Taihang landscape paintings,which is not the core of my thesis.However,a conclusion may be drawn:Basing on works being done,Taihang langdscape paintings will be under a more open and reconciled context,and painters will further their research in terms of modern culture and the context of humane spirits.Also,both the technical tools and formal language will change accordingly.Preserving and striving for a breakthrough in the paradox,this maybe an effective strategy for the developing of Taihang landscape paintings and for its drawing language.