Study Of Color And Light Performance’s Aesth Etic Value In Zhong Dingqiang’s Oil Paintings

Zhong Dingqiang is the China’s third generation of oil painter. His experience of systematical study of the Russian oil painting under the historical background at that time sets a solid foundation for his realistic painting model. More importantly, the color of the Russian oil painting has greatly affected his performance of oil painting in terms of color and light. His early oil painting practice inherits the traditional techniques which are often used by the Soviet oil painters: first, in terms of external light, the Soviet oil painting not only pays attention to the external light color, and always combines the color and the shape of the image, in order to cover both of them, mainly through the application of color rules under the influence of light source color and environmental color. Second, in terms of the gray tone, the Soviet oil painting attaches great importance to the performance of the gray tone. Zhong Dingqiang’s oil painting also pays great attention to the gray tone. He adopts much gray tone in color, which perfectly embodies that he is a master in adoption of gray tone to describe subtle color changes. Audiences are able to view a special charm of color language while appreciating his works.Started from the Russian oil painting learning, Zhong Dingqiang Russian studies realistic oil painting skills, and becomes a master in displaying the subtle external light color changes, which lays a solid foundation for his oil painting art. His love of painting color leads him to be committed in his later works to shade research. His agile ability to grasp color and brushwork and blade also derives from the touch he gets by watching the French impressionist works. He is so fascinated by the real, fresh, and colorful screen that he starts to study and research of the classic works of the masters through French impressionism original works and the album, and to explore their color and brushwork. He pays attention to the outdoor sketch, keen to depict landscapes, still life and figures under different light source.Zhong Dingqiang although love India like painting school, of light and color sensitive, but growth in China, this piece of soil, like their this generation of oil painters in the Chinese traditional artistic atmosphere nurtured benefit, has a complicated feelings of Chinese traditional art. He Soviet style oil painting undoubtedly the beginning is to belong to the category of realism, but according to his view, realistic oil painting can certainly from the subject matter of this to convey the emotion, but as the art of painting should how to draw, also how profoundly performance painter’s unique artistic accomplishment, the pursuit of aesthetic taste and personality, this is the final destination of art. So he in the traditional spirit of Chinese painting nourishment to create his oil painting color performance characteristics, the characteristics reflected in the merits of draw his Impressionist, inherit and carry forward the art of Impressionist paintings at the same time, more important is from the pursuit of color into the freehand brushwork in traditional Chinese characteristics.Although Zhong Dingqiang loves impressionist painting and is sensitive in light and color, His background of growing in the soil of China leaves him a complicated feelings of Chinese traditional art, just like all his generation of oil painters who are benefited from the nurture of Chinese traditional artistic atmosphere. The Soviet style of oil painting undoubtedly at the beginning belongs to the category of realism, however, according to him, realistic oil painting can certainly convey certain emotion from the perspective of theme; as an art, the oil painting shall also reflect aspects of the painters for example, how they draw, and how their unique artistic accomplishment and pursuit of aesthetic taste and personality can be profoundly performed. This is the final destination of art. So with the nourishment from traditional spirit of Chinese painting he creates his own characteristics in oil painting color performance, which is reflected in the merits he draw from impressionist by inheriting and carrying forward the art of Impressionist paintings at and more importantly integrating freehand brushwork of traditional Chinese characteristics from his pursuit of color.The first chapter analyzes the reason of his oil painting color performance through discussing his self-consciousness and experience. The second chapter discusses the linguistic features of his painting in terms of the style and language features. Zhong Dingqiang pays attention to express feelings exerted from the painters’ inner heart while depicting objects that appeal to him in a frank and honest manner. With the blending of emotion and scenery, of color and pen style in his oil paintings, he creates lots of vivid and colorful images. The third chapter interprets his painting color language aesthetically and analyzes his unique painting color performance. In the pursuit of "Qi" in his works, he makes the paintings full of vitality,As for the artistic image of his works, they are more spirit-oriented, showing a beauty of "like or not like" of Chinese painting waiting for various interpretations. In other words, they reflect the aesthetic characteristics of Chinese figure painting in “vivid portrayal”, “unity of form and spirit”, which are "vivid portrayal", "portraits". The fourth chapter discusses the implications of his paintings to the contemporary painting performance. In the performance of contemporary painting, oil painting art tends to be flat, gray, and abandoning the impressionist color. Art should develop in diverse forms, without abandoning the traditional advantages. Therefore, painters shall inherit the traditional expression way of light and color and make innovation at the same time to explore new forms of color language.