A Study Of Chinese Writers' Fine Arts In The 20th Century

In the 20th century, Chinese writers focused on,involved in and thought about the traditional calligraphy and painting, folk art and modern art in different terms, and they have put forward some worthy opinions and ideas on the development of the art type, such as wood carving and traditional calligraphy and painting. In addition, there have existed some kind of art thought and practice in certain literary texts now and then. The art activities (both theory and practice) of Chinese writers in the 20th century is bearing the weight of literary and cultural significance, and there is inner tension of mutual coordination in the relationship between these activities and literature thought and art creation.This study finds the literary aesthetic value as the pivot, and aims at the purpose of academic exploration and innovation, which in turn finds the new research point of Chinese Modern and Contemporary as the research field in the overlapping area in literature and art. This paper narrates the ideas of art types from modern writes as a group and individual writer as well through literary thought. It also points out that there is interaction between modern writers’ literature works and art thought. Finally, it examines the experience of the coordinated development of Chinese literature and art in these hundred years, and thus opens up a new vision of modern and contemporary literary studies. Except the introduction and conclusion part, the main body of the paper consists of three parts, specific as follows:The introduction part gives some definitions on the related categories. It describes objectively the overlaps and independence of "literature" and "arts" in the historical context when writers and art meet in the 20th century. It also illustrates motivation and ways of art thought of the writers. The different forms of art and literature’s combination are shown later. This part finally reveals the present situation of the relevant research and puts forward the idea of the research.The first part of the main body includes the first and second chapter, which dedicated to describe the relationship between modern art and literary thought, to discuss the different function of literature and art, and to present the cultural background of writers’ art thought.The first chapter compares and interprets literature and the thought on art between the early 20th century and the late 20th century. Art and literature was bestowed with the characteristic of tool function by the notion of revolution in the May 4th period. When art and literature interchanges at the end of 20th century, the aesthetic value is expanded and the tool function is weakened, which shows the changeability of the function of Chinese art.The second chapter reveals that literature and art are developed together in the point of general public culture. It begins in 1927, the revolution time, then the founding of new practice of the talk, then the founding of the new China and climaxed at the end of Cultural Revolution in 1976. And the general way of art publication becomes self-evident. Literature works in the eighties of the 20th century and "scar", "roots" and "modern" the art notions are comparably examined to show the backwash of the thought of publicity and the practice is also a way to attract the general publicThe second part of the main body includes the third, fourth, fifth, and sixth chapter. It compares and explains the typical art thought and art types of writers as a group and some individuals from more empirical studies.The third chapter discusses the writers’art thought from the perspective of writers’group. Through the art relevance of the school of crescent, it also analyzes the influence of the literature works of the school of crescent on art. The research focuses on Wen Yiduo’s Three Beauties, and explains why there is art in poetry. Xu Zhimo, also the leading figures in this field shows the complex cultural identity, his critics on art and Xu Beihong’s idea on art combines the cultural horizon in the east and the west.The fourth chapter compares Lu Xun and Shen Congwen, the two literature giants. It discusses the similarities and differences of them as painters, calligraphers and art historians. It also points out that Shen Congwen focuses on classical painting and calligraphy and Lu Xun concentrates on folk art. And their literature works is related to art that they are in. On the wood carving, both Lu Xun and Shen Congwen can focus on local color, and emphasize the importance of wood carving techniques, but on the popular tendency of wood carving, Shen Congwen is more pessimistic, which shows Shen’s consistent aesthetic consciousness both in art and literature.The fifth chapter puts Wang Zengqi, and Jia Pingwa as the center, which interprets the corelation between traditional drawing and literature. Their idea of drawing and literature being related was influenced by the traditional technique of drawing and human art conscious. They practiced traditional art in their own literature way, namely, their art literary text signifies another kind of art thought. Modern art and traditional drawing are thus carried with different narrative function.The sixth chapter interprets the cultural significance of "writer’calligraphy and painting" in the context of modern language from the perspectives of modern aesthetic, aesthetic features of painting and calligraphy. In the face of the global art market and the impact of the consumption culture, it puts forward a new proposition, that is "excluding artistical value", in the Chinese spirit on calligraphy and painting. Under this background, it explains the different ideas of calligraphy held by different writers, and points out the significance of life-into and the spirits of the calligraphy creators.The seventh chapter is the third part of the main body. It extends the relevant topics to show the openness of this research, such as the thoughts of "blankness", "local color". The research shows three ways to create a blank:in structure, the adscription of men and abrupt ending. Also there are three ways to show local color:the scenery folk, the use of dialect and the technique of form. The practice of blankness and local color make Chinese literature possible to be active in the world stage.The concluding part stresses the significance of the visual appreciation of art on writers in the image period. It also points out the art factors in the development of modern literature. The research on the history of literature from art perspective is also stated.The combination of Art and literature is of new values, meanwhile, the limitation of the paper and the possible future pioneering is explained.