Re-exploration Of The Nationalization Of China Oil Paiting

The nationalization of Chinese oil painting is an important phenomenon in the contemporary history of Chinese arts. The practice established by Chinese oil painters with the characteristic of cultural consciousness, is a combination of the eastern and western artistic express way. It began at early 20^th century, and covered a considerable part of the history of Chinese painting. This paper sets the nationalization of oil painting in the 50s and 60s as the researching object. It mainly concerns the extension and development of the nationalization of oil painting in 17 years, trying to uncover the relationship between the nationalization and cultural policy as well as the developing path of the country. It is also the intended aim of the author to show the phenomenon of self-exploration of oil painting in its own field at this period and to summarize the accumulated important theories, experimental results and experiences of nationalization in developing Chinese oil painting.The writer first makes clear the theoretical threads of nationalization of oil painting, recalling the phenomenon of melting eastern and western style in oil painting creation, and then conducts research about the nationalization of Chinese oil painting in the 50s and 60s. The first chapter of this paper connects the nationalization of oil painting with new China's cultural and artistic policy, the make-up and improvement of artists, the establishment of realism, the individual's practice of nationalization of oil painting, the impact of the "a hundred flowers blossoming, a hundred viewpoints contending" principle on the artistic field to analyze the reasons of the changes of the nationalization from few painters' interests and persistence to country's pushing efforts. Chapter2, 3 and 4 conducts research respectively according to performances of nationalization in various kinds of realms. The turning of the direction of culture stimulates the actions of the nationalization of oil painting in the following three ways: First one is the contending and communication of ideas. Discussions in the meetings and continuous publishing of articles meant that nationalization of oil painting had been issued in a formal and organizational way. Besides, the participation of experts deepened and enlarged the impact of the preposition. The second one is the advocating and initiating practice of the nationalization in teaching. Among the practices, the most effective was the oil painting teaching in Central Academy of Fine Arts, such as the oil painting research class (1960-1963) leaded by Luo Gongliu and the third drawing room (1959-1964) with Dong Xiwen as the head. In their teaching, they stick to the trends of diversification and nationalization, which opened up new educational ways and teaching methods. At the same time, it brought significant teaching effect, bred and cultivated newly born oil painting forces. Thirdly, a host of oil painting works with protruding characteristics have been produced. From aspects of material, form and ethos, artists made different efforts to explore consciously the subject that how the oil painting carries ethical traits and Chinese style, thus providing certain creative fruits. The author believes that artists have explored and employed decorative colors, two-dimensional space, symbolic posture, rhythmic lines, decent brushwork and emotional mood in Chinese traditional art, and have built up a new image of Chinese oil painting in this historical period. After that, the author describes the continuous development of the nationalization of Chinese oil painting from 1980s, and summarizes the characteristics and significance of the nationalization of oil painting in 1950s and 1960s.This paper holds that the nationalization of Chinese oil painting in 1950s and 1960s maintained the way of melting the eastern and western elements in the development of Chinese oil painting. It was subject to the political power but also carried artists' interests and dreams. It promoted the improvement of Chinese oil painting, enlarged especially the performances of realism, and produced oil paintings combining the characteristics of times and China. The concrete forms of the nationalization indicated the melting process of the eastern and western culture. The nationalization of Chinese oil painting has become an important event and phenomenon of the development of Chinese oil painting in the following 17 years after the establishment of new China.