Glimpse Of The Landscape. Centuries

During the 20^th century, Chinese landscape paintings went through a special period. China of the 20^th century witnessed an unprecedented change of the whole society, under the passive absorption and positive introduction of the western culture, traditional art and culture met the strongest heterogeneity challenge, the thoughts of art revolutionary was aiming at the traditional Chinese paintings and the tradition of Chinese paintings. This paper takes Li Keran and Lu Yanshao as the research objects and reflects the realistic tensility on some lays of Chinese landscape paintings between tradition and variation by the detailed analysis of these two artists' artistic opinions and practice. Li Keran once graduated from Shanghai Art College and studied as a graduate student at National Art Institute and learned western paintings at new-type art school, also he was deeply influenced by Lin Fengmian, that's why he treated Chinese landscape paintings with a an insight and thinking of the western paintings chronically.Subjectively, he made great effort to learn and master the tradition of Chinese paintings, sought help from Qi Baishi and Huang Binhong and kept an internal close contact with the tradition of the Chinese painting on the basis of the mastering of pen and ink, however, there is limitation of his understanding of traditional brush-ink and his mastering of the reality, he emphasized the true combination of the brush-ink and natural scenery, while weakened the taste value of the brush-ink itself, also he paid great attach to the expression of the brush-ink to the solid and ignored its expression to the void. He accepted the new reformed ideas of Direct Imitation of Nature of Xu Beihong, aspired to make memoirist of the China territory and created real landscape paintings by the western way of sketch. Lu Yanshao almost learned the traditional Chinese paintings, his teacher is Fen Chaoran who is a traditional landscape painter, he also learned poetry under the guide by Wang Tongyu and requested himself by the integrated quality of the traditional literator, the way of 40 percent of learning, 30 percent of writing and 30 percent of painting became the culture way during his lifetime.Lu Yanshao attached full importance to tradition of landscape paintings; meanwhile, he was close to the nature and learned paintings of the past artists during his travel which made himself creative and traditional. Li Keran and Lu Yanshao had great difference in the views of the imitation problem. Li Keran understood it as going deep into life, requesting to regard the objective world as the first teacher and holding an attitude of the coexistence between substances and I and asking painters to depict the real objective world. While Lu Yanshao focused on the manner from the real landscape, incorporating the feeling and understanding of the nature into the natural expression of the paintings and presenting a poetic picture. Li Keran transformed the highlight expression in the sketch into a characteristic of the landscape style, while Lu Yanshao developed the lights in the natural scenery to an artistic mean of Margin Leaving which seems that it was a necessary part of the whole picture. Li Keran's paintings are mainly about high mountains which were usually composed in the form of square or central hall. The images of the picture are concentrated and expressed by putting one layer on the other, which present a strong visual effect. Lu Yanshao's paintings feature landscape, presenting the picture by the ink lines in a calligraphy style, he focused on the motion tendency in the picture and incarnated the universal acknowledgement of the traditional changes of Yin and Yang, also he was good at forms of hand rolls and volume album in a implicative and mild and indirect way which bearing the artistic features of traditional landscape paintings' particular attention on taste. Li Keran understood the artistic conception in the traditional art scope as a combination of emotion and scenery which was only on the stage of imago and he even comprehended it as the Model of the western art, thus, a departure of the original concept of traditional art was caused with the creation. Lu Yanshao's success attributed to his pure traditional stand and his flexible openness and creativity which helped him form his own style. While Li Keran's success is resulted from his integration of the heterogeneity into the landscape paintings and his creation which was on the basis of the part sacrifice of the tradition and presented a unique style. Such kind of comparison suggests lots of considerable problems of Chinese landscape paintings in the modern times.