The Hidden State Of The Spirit Of Criticism - Realism Painting Aesthetic Characteristics

Several decades after the Culture Revolution, the world of painting in China keeps searching for the spirit of human beings, this is a process step by step. At first, the Chinese artists tried to find the answers from Chinese tradition, after years, they turned into the west——Situational Realism continues this process. The Situational Realism starts from the end of1980s, thrives from1990s till now, it mixes the achievements no matter they are modern or ancient, from its own country or abroad. After long time choosing and practical survey, the Situational Realism forms its own expression strategies.People used to explain the State Realism in three ways:first is perceptual reading, second is to explain it in sociological ways as part of art phenomenon in1990s. The former is ineffective; the latter is far from specific text. The third way is to analyze the structure and appreciating mechanism of the art text in iconology angle, search the original meaning of the works. Although substantial, relevant theory studies are insufficient. This article tries to combine three ways to fill the blank of study. By activating the experience of life and appreciating the art works, I try to solve the main problem:the way that the Situational Realism discovers the spirit of human beings, what does it get and the aesthetic characteristics it reflects.The first chapter introduces the origin of Situational Realism painting. One of the most important issues that multitudinous artistic practices have discussed after the Culture Revolution is to reorientate the spirit of human beings. Those paintings have provided various answers and made extensive influences. However, those solutions lack effectiveness upon the issue from the viewpoint today. Situational Realism continues searching in ways that vary from the former paintings.The second chapter analyzes the expression mode of Situational Realism paintings. The most distinct feature that distinguishes it from other painting styles is "objective narration". Nevertheless, there’s no absolute objective. The subject keeps intervening the meaning of paintings in certain recessive way. This implies the potential heats of spirit in the subject.The third chapter analyzes the spirit of human beings that Situational Realism paintings redefined through researching. The spirit is non-sublime on aesthetic object, non-idealistic on emotion and non-mainstream on value orientation.The epilogue briefly reviews the Situational Realism paintings. It continues and surmounts the tradition of realism art. And it provides a mirror with contemporary for self-introspection. Although constructive, Situational Realism is not a perfect artistic style, but one of the pathfinders in forest. Therefore, some down-to-earth limitations are inevitable.