Analysis On The Representation Of Superimposed Shadow Form In Chinese Painting

Chinese and Western paintings have always shown superimposed shadow forms.Still,the form of a superimposed shadow in these paintings has different characteristics,and the background and development motives of these paintings are also different.This thesis has three main parts,sequentially analyzing the different points of superimposed shadow forms in Chinese and Western painting expression;the characteristics of the expression of superimposed shadow forms in Chinese painting;and the development characteristics and prospects in the creation of superimposed shadow in self Chinese painting.The most mature form of a superimposed shadow in Western painting appeared in the early twentieth century in Futurism.Giacomo Balla’s paintings,for example,are a great example of his work in the period 1910-1920,when he created a large number of artworks that represent the form of superimposition and had a significant influence on the later superimposition in the West.Though it started later,there is a rich diversity in the development of expressions in Chinese painting that express superimposed shadows.Whether it is the superimposed shadows of water in the ink and wash figure paintings of Tian Liming,the superimposed shadows of the movement of figures in the claborate-style paintings of Sun Juanjuan,or the superimposed shadows of color composites in the claborate-style paintings of Pi Liwen,these are all proofs of the diversity of the superimposed form in Chinese painting.At the same time,they also express the great potential of the superimposed form in Chinese painting.Unfortunately,when the author delves into the theory of superimposed shadow painting in Chinese painting,no one has made a systematic theoretical analysis of this form of painting,which is very regrettable.And this thesis is to analyze the different points of the superimposed forms of expression in Chinese and Western paintings and to summarize the image concept of superimposed forms-the multiple organization structures of morphological variation.The continuous analysis and proof of the superimposed shadow form of paintings have also enriched the author’s theoretical analysis of superimposed shadow in Chinese painting.There are three innovative aspects in developing my superimposed shadow form of Chinese painting:the first being the relationship of subject matter movement,the second being the superimposed form of picture color,and the third being the superimposition of line symbols.These three aspects of development are also the three general stages of development and change in the expression of my superimposed shadow images,which will also be elaborated in the following.Superimposed shadow forms of pictorial expression are unique in both Chinese and Western paintings and should not be buried.The theoretical analysis of superimposed shadows in Chinese painting should be supported by its own mature analysis system and continuously developed and improved.