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The Eastern Elements Of The Virtual - Baltis Landscape

Posted on:2017-04-11Degree:DoctorType:Dissertation
Country:ChinaCandidate:J H LvFull Text:PDF
GTID:1105330488981457Subject:Fine Arts
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This dissertation mainly explores the existence of Oriental artistic elements in Balthus’ landscape paintings. Comparing Balthus’ works with traditional Chinese landscape paintings based on their formation environments, it is perceptible how Balthus absorbs and borrows extraneous traditional artistic spirits on the basis of western traditional art. The Oriental elements and connotation in Balthus’ landscape paintings are quite notable, which is of great enlightenment to the development of Chinese oil paintings. Under the diversified development of contemporary art, this paper discloses the eternal charisma of traditional Chinese artistic spirit and their resonance with Chinese oil paintings through the comparison and the analyses of the differences between Balthus’ s landscape paitings and traditional Chinese art, especially of its subtle combination with Chinese Taoism from a phenomenology view. The investigating research of most great artists in the 20 th century who learns and draws lessons from traditional Oriental art helps us to regain the confidence in traditional Chinese artistic spirits.This dissertation can be divided into four chapters. Chapter One deals with Balthus’ oriental related childhood and the prestigious poet Rainer Maria Rilke(an Austrian poet) who left a significant influence on his artistic career.Chapter Two discusses Balthus’ reference and inheritance of traditional Oriental arts, Chapter Three especially on his interest and understanding of ancient Chinese landscape paintings and their inner spirits and also analyses Oriental elements and connotation in his landscape paintings through perspectives of painting techniques,composition and horizon.Chapter Four takes the work "Monte Calvello" as the example revealing the Taoism through the analysis of the frame composition and the explanation of its formation environment.The Last Chapter, it explains that the painting methods of landscape paintings dominated by Chinese Taoism bear some resemblance of that of phenomenology andalso draws a conclusion that there existing a homoorganicity between the “intuition”and “mysteriousness” of Balthus’ landscape paintings and “the fast of heart” and “sitting in oblivion” of Taoism. The research also indicates that it is exact the eternal charisma of Chinese Taoism that enchants Balthus. It opens a door of hope for the continuous development of Chinese oil paintings and its reference to foreign culture under the current multi-interactive communication.
Keywords/Search Tags:Balthus, landscape paintings, Oriental elements, connotation, void
PDF Full Text Request
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