Tibetan Theme Manifestation Painting Evolution And Development

Starting from the1940s, the oil painting with the theme of Tibetan nationality has begunto appear. Until now, this type of artistic creation has experienced six stages. They are theexploration stage which expresses the scene of Qinghai-Tibet Plateau and living of theTibetan nationality. The “description of the new look” stage which describes the newatmosphere of the time and reflects the socialist construction after the peaceful liberation ofTibet. The stage of cultural revolution. The stage of “art of scars”. The stage of local realism.The stage of contemporary ear.In the more than60years, the Tibetan theme of oil painting art creation activity has beenin a state of evolution and development, and they have different expressions and dominantideas in different ear background. This thesis takes the emergence development and evolutionof the oil painting as its mainline to develop the discussion. And to illustrate that thedevelopment of this theme is not only the requirement of the time but also the specialty of theart itself. Only with the evolution and the development of it, this theme of art works willpresent more fresh sense of art to people.There are three chapters s of the thesisFirst chapter illustrate the vivid regional culture of Qinghai-Tibet Plateau and specialnatural geographical features respectively in two sections.Chapter two illustrate the time background, development and the achievements of eachstage of the oil painting with the theme of Tibetan nationality.there are four sections in thischapter.1. the exploration stage which expresses the scene of Qinghai-Tibet Plateau and livingof the Tibetan nationality.2. The “description of the new look” stage: since1949, the strongpolitical complexion has been endowed to the oil painting with the theme of Tibetannationality in which most works express the theme of socialist construction, national unityand strengthen the national defence..3. The stage of cultural revolution: with thedevelopment of the political situation, the art forced to be served to the political. The worksof this time had the feature of “high, big, full, red, light and bright”.4. the stage from1976to1990s. after the cultural revolution, people made self-examination, and artist exposed severalproblems of that time through some works such as Gaoxiaohua’s “why”, Chengconglin’s“snow in month X date X in1968”. Artist come back to the way of realism. Some “local realism” appeared which described the local country and peasants. The symbol of “localrealism” are the works: Luolizhong’s “father”, Chendanqing’s “a group of painting inTibet”, Heduoling’s “the revival of spring”. In this stage, the art works eulogize the beautifulnature and the kind humanity.Chapter three illustrates the combination of the oil painting with the theme of Tibetannationality and the contemporary era. There two sections in this chapter.1. The reason of thecombination. Since1990s, the oil painting has the development of diversification in China.More painter has the bright purpose to the works of the oil painting with the theme of Tibetannationality.2. The achievements of the combination. There are a huge big painting worksappeared in contemporary era such as Panshixun’s “rich dress of the tree”, Yuxiaodong’s “afamily”,“crossing” Aixuan’s “the past events of the wasteland”,“disappearance of themorning fog”.