The Application Of Traditional Lacquer Painting In Oil Painting

There remains an increasingly blurry line between oil painting and the rest painting styles in an age of art diversity. Oil painting creation is not only restricted to the world of classicism and impressionism. Using new materials, painting techniques, painting tools and aggressive borrowing from other techniques visually broaden the path of oil painting and aesthetic range for oil painting. When doing some initial sketching about oil painting, use of material language is stimulated onto a place of significance. Comprehensive material use when creating oil paintings has become a beneficial trial. And this thesis expounds use and expression of such comprehensive materials as spreader and stickers as well as their functions and significance in oil painting creation. We are cultivated with deeper cognitive reflection on comprehensive materials in oil painting creation and at the same time with knowledge of better utilization for affixing oil painting creation with new vigor and unlimited future in days to come.This article is divided into five chapters:chapter one is an introduction of comprehensive materials, which avails in deeper understanding and comprehension of comprehensive materials for oil painting through introduction of comprehensive materials and some representative artists who used them in oil painting creation in the early 20th century. It signifies feasible significance of using comprehensive materials in oil painting creation. Chapter two, current status of spreaders and stickers for lacquer painting, in this chapter, commonly used spreaders and stickers for lacquer painting are introduced. Chapter three, significance of using lacquer painting materials in oil painting creation introduces some works of Tang Mingxiu, a famous lacquer painter and other painters who utilized lacquer painting materials into oil painting namely Zhujin, Xujiang and Zhangyuan. It specifies the significance for using lacquer painting materials in oil painting. Chapter four entitled analysis of oil painting creation features three series. The first series is themed on fishing boats that depicts diligent and brave fishermen regardless of all kinds of hardships are swaggering out in close pace with the age to struggle for better lives. The second series features waterside countries in sharp contrast with fast-paced modern urban areas crowded with traffic flows. This series removes all restless riots off one’s mind and composes one from inside by staying near to the nature. The third series features three flower of the four flower gentlemen namely plum, orchid and chrysanthemum. They are common subjects in object-chanting poems and literatus painting because of their agreed implications for ceaseless self-improvement with external grace appearance and no intent for fame and wealth, putting no air of fawning on others. Use of comprehensive materials for presenting such traditional elements as plum, orchid and chrysanthemum materials to public in another manner invokes much association. Conclusion of chapter five summarizes my deeper reflection on spreader and stickers. Although there are some details still in need of polishing and improvement, still I have developed the idea that exploitation and use of materials is endless and how can painting creators manage to use them is what counts.