Study On The Flat Space Language And Its Creation Practice In The Landscape Of Xinjiang Oil Painting

At the end of the 19 th century and the beginning of the 20 th century,with the rise of Western modern art,traditional oil painting was increasingly marginalized,and a new road for the development of oil painting emerged as the times require.In 20 th century Chinese art,on the practical path of exploring the localization and nationalization of oil painting,artists actively explored different painting languages.They integrated Western painting languages and Chinese cultural elements,combined with the current situation of Chinese art,so that oil painting took root and sprouted in China,while promoting the development process of the nationalization of Chinese oil painting.Xinjiang has been a center of cultural and artistic exchanges between China and the West since ancient times.After thousands of years of changes,this ancient Silk Road has left us countless artistic treasures.The historical culture characterized by ethnic symbols,such as the ancient city of Kucha,the ancient city of Loulan,the ancient city of Jiaohe,the ancient city of Kashgar,and the ruins of Nya,has provided artists with a continuous stream of artistic inspiration.Xinjiang themed oil painting landscapes exhibit a good development momentum and prospects with unique natural features and regional culture and other advantages.However,in the context of globalization,Chinese oil painting should not only adhere to its own national aesthetic taste,but also keep up with the times.While inheriting the traditional art of the Western Regions,the planarized space in Xinjiang theme oil painting landscapes should also conform to the aesthetic concepts of contemporary people.In contemporary Xinjiang theme oil painting landscapes,it is necessary to not only endow them with a sense of the times and modernity,but also explore the essence of art,so that the development trend of the planarized space can obtain a broader and more long-term development space.Therefore,we must constantly explore and innovate on the path of artistic creation.Planarized space is a product of history and the times,a highly refined expression of the artist’s personalized language and artistic ideas,and an artist’s attitude towards understanding and treating the world from a unique perspective,which is more in line with the aesthetic needs of the Chinese people.This thesis takes the planarized space in Xinjiang theme oil painting landscapes as the research object to reflect the true emotions contained in artists and their works,and briefly explains its ethnic and regional characteristics,exploring the diversified development of planarized space in Xinjiang theme oil painting landscapes.Combining the author’s thinking and personal experience of creation,I strive to better touch the art practice itself,better express regional characteristics,ethnic elements,ethnic spirit,and cultural connotation,and endow the creation of "Kashgar Ancient City-Gaotai Folk Residence Series" with a true feeling,hoping to better integrate theoretical research and creative practice.