.20 1940s Into The Sweet New Regions Of Chinese Oil Painters

This article mainly focus on illustrating artists such as Wang Ziyun, HanLeran, Chang Shuhong, Wu Zuoren and Dong Xiwen who came to the northwestarea, especially Gansu and Xinjiang province in1940s for art work andis about to illustrate this westbound is from the collective consciousnessduring that period, especially the national pride emerged during thenational crisis, and the cultural introspection process of the Socialupheaval period.Chapter one mainly elaborates how the social upheaval period influencedthe artists and their maturity process from the revolution of1911to theChina's cultural revolution and to sino-Japanese war. It also reveals themultiple history and cultural reason that led the artists to the westbound.The early20this the period for culture and ideological trends overflowfilled with tremendous conflict and contradiction, which made numerousartists made their endeavor to find their own way out for the Chinesepainting. The war of resistance forced the migration of culture centertowards west and gave the painters a great opportunity to absorb thenutrition of the western culture.The next chapter dissertates these artists were mostly influenced by CaiYuanpei art education system that is considered a good model for the fusionof Western and Chinese art. And talk about the commonness among the artistswho used to go into northwest region--they all studied in France before.Further more, it discusses how these two relates each other. At that time,It's a trend to receive further education aboard and from the statisticstowards the northwest region almost all of the painters used to study inFrance. The article also researches the impact of choosing differentcountries for further education and how will that affect the later artroad in comparison and comes to conclusion on the link the two.The third chapter demonstrates the reason why DunHuang is the focuspointfor the root-seeking of culture in the westbound. Eventhough the artpractice on art archaeology among artists in northwest are different in terms of reason and angle, but the general direction is the same. As forthe replicas, despite the different painting technique they use, thethoughts are the same.The fourth chapter comes down to talk about the painting and sketches onwestern suburbs lifestyle in40s, artistic art style exploration uponevery artist and also the common practice of oil painting localizationand the exploration of nationality style in composition of a picture.Chapter V summarizes the impact of painters entering the northwest regionsin the late1940s, which led to the later Dunhuang upsurge, Nothwest sketchfashion, several discussions of the oil paintings localization, and thedevelopment of oil painting in northwest regions (taking Gansu andXinjiang for example) and the meditation for art education.This thesis first time summarizes the painters of1940s in all and notonly concludes the common artistic pursuit but also the individualism ofeach artist. I attempt to explain it's an inevitable phenomenon for theartists entering northwest in that complicated period. It's a process forachieving the same from diverse approach. For all the above, I put myhumble opinion down here.