Study On The Artistic Language Of Chinese Deep Color Painting In The New Era

The painting in deep colors is the prototype of Chinese traditional painting, and is the prelude to the Chinese classical painting. During Sui-Tang and Song Dynasty, it was at the flouring period and then began to go downwards due to many reasons. In the 1980s, it becomes revival, unfolds the rich connotation and extension, especially with the development of practical filed and the close relationship between the practical filed and the academic thinking, which changes the layout that Chinese brush drawing has been in the leading position for several centuries. However, the research into the theory of modern deep color painting in the academic community has lagged behind at a large extent until now.Against the social background, this thesis pays attention to analyzing and researching into the artistic language of deep color painting, after reviewing the revival and development of Chinese traditional deep color art since the new era. The subject of drawing research is the materialized visual image, hence the writer, from the perspective of practical creator and the drawing research, will explore and research into the tasting tropism, the style features, the cultural character of the deep color art, and the modern transitional value and academic significance of pictorial image, referring to Chinese traditional deep color painting, through an extensive language analysis and research of drawings.The multiple representation of modern deep color painting has made up of modern language modality, which is quite different from Chinese traditional ones. The development of deep color paining focuses on color and the techniques of materials. As a result, the author tries to theoretically construct the artistic language of deep color painting in new era, that is, to improve the color system and construct the system of technique materials. Through researching into the evolution of oriental and west deep color painting and the law of deep color paintings, the author thinks that the modern deep color painting is an improvement of color, not the continuation of traditional deep color. The deep color painting should be the creation that the artists of modern deep color painting present on the basis of traditional color culture, and the transformation that the artists keep on the basis of the cognition of the traditional color. This improvement does not follow the tradition of west painting in terms of the representative language of color, of which the connotation of aesthetic appreciation should include the spirit of Chinese culture and establish the own Chinese color language and identification, constructing and improving the representative system of Chinese deep color paining on the basis of serving to science and correspond to the artistic law. In constructing the system of technique materials, the deep color painters should analyze and research into the legacy of traditional paintings, and explore the materials of traditional paining and the features of representative techniques. The deep color artists should, giving full play to the talent and keeping exploring, change the traditional conception"the capable man should be knowledgeable rather than restricted to some fields"to the conception"to keep the inherent features and the charm". Meanwhile, the unity of opposites, especially the relationship between the doctrine and the utensil, should be kept in balance.On the other hand, the status quo of multiple development of modern deep color painting promote the prosperity, and blur the boundary of deep color painting which result in the confusion of noumenon value and evaluation standard. What are the noumenon value and the evaluation standard under multiple layout? How do the deep color painting keep Chinese cultural characters healthily develop under the influence of globalization? In the last chapter, the author would discuss the above questions from the aspects of materials, techniques and cultural aesthetic appreciation, suggest that the modern deep color painting deal with the relations among the aesthetic feeling of texture, the innovation, the temporal spirit, the nationality and so on, of which the development should root in the national spirit, unfold the connotation of Chinese culture, and represent the features of deep color paintings.