The Reflection On New Aestheticism Style In Contemporary Meticulous Figure Painting

As one of the oldest painting styles in China, brushwork figure painting, through thousand years of edification, is still shining its gorgeous glory in the 21st century. A group of artists appear under such a condition that tradition and modern times meets. They accept the idea of modern art under the influence of social pluralism, and yet inherit the tradition of brushwork figure painting. They continue the classics of traditional brushwork figure painting, meanwhile they open up the boundaries of which their predecessors had not been involved. The style that they are presenting is called "new aestheticism" of brushwork figure painting."New Aestheticism" style of figure painting is not a rebellion against tradition, but in the effort to form its new vitality. They are given a new starting point, and the reality gives them opportunities. They try to draw lessons from the outstanding part of the ancient culture, and they have no exclusion from the beneficial effects outside of the Chinese civilization. They explore their innovation and they strive to break free from the stereotype out of the old to create an art of their own style. Can their ideas be achieved? Is it valuable? This is also the main issues discussed in this thesis.The methods of documentary research and empirical study will be used in this thesis. The introduction part mainly elaborates the historical origins and diversification of figure painting, in this way "New Aestheticism" style of contemporary figure painting will be put forward. The first part illustrates the semantic structure of "New Aestheticism" style by tracing back to its concept and aesthetical preference. Secondly through fashionable non-urban subject matt er, detailed visual selection, esthetic expression, individual language and other perspectives, the thesis analyses the characteristic of "New Aestheticism" style of figure painting. Thirdly it focuses on the causes of "New Aestheticism" s tyle of figure painting. The fourth part centers on the its realistic meaning, analyzes the transition "New Aestheticism" style, and how to critically assimila te of fashion. Consequently the conclusion will be drawn.As the core force of figure painting in coming decades, painters of New Aestheticism bear heavy responsibilities. Hence it is of great histotical significance and pragmatic values to study the "New Aestheticism" style of figure painting.