The Cultural Turn Of The Contemporary Chinese Heavy-colored Painting

The seemingly simple rise of the Chinese heavy-colored painting,which occurred not solong ago though,has already included the complexity and richness of various phenomena.As an important part of the study of the art history,the study of the contemporaryChinese heavy-colored painting is related to the academic philosophy of the current age,which exerts diverse denotative and connotative profundity.Proceeding from the renaissance of the Chinese heavy-colored painting at thecontemporary age,this thesis explores the valuable aspects entailed in such a culturalphenomenon.By sorting out the historical development of the conception of the heavy-colored painting,its forms in history as well as at the current age,the development of the contemporaryheavy-colored painting,and the background of its development,the thesis traces theoriginal relations between the contemporary Chinese heavy-colored painting and thetraditional Chinese color painting and explains the complex process of its crashing andwrestling with the modern western art.Among all the mentioned above,the thesishighlights the problem of redefining"line"by staging a cultural retrospection about theontology of the heavy-colored painting;moreover,it also introduces the influences thatthe western impressionism and the Japanese painting exert on the contemporary Chineseheavy-colored painting from exhibitions,publications and student exchanges.For identifying the ontological value of the contemporary Chinese heavy-coloredpainting,the thesis,in the perspective of continuation and transformation,exploresrelevant aspects such as its expressional and technical forms by presenting the productiondevelopment of the ground color from the traditional fresco to the contemporaryheavy-colored painting,the particularities of constructing a heavy-colored painting,theexpression perspective of the color-centered brushwork,the systematic research anddevelopment on pigments,the presentation of the beauty of the heavy color materials,theharmonious and unified quality of colors,etc. collective experience to the self-relied experience,the thesis also discusses the culturalenvironment and values of the contemporary heavy-colored painting,which embodies thecultural diversity of the art category.As for the brushwork,which has always been regarded as the core of the wash painting,no significant relation with the"decorative"heavy-colored painting can be found.However,the heavy-colored painting and the wash painting is of the same origin;withthe conceptual extension,the term,"brushwork,"has been seen as the symbol of a kindof Chinese cultural spirit and a way of esthetic perception,and it is the fundamental andmajor expression pattern of the Chinese painting.The expression perspective of thecolor-centered brushwork of the contemporary heavy-colored painting reconnects thenaturalistic philosophical notion of"the great music often has few auditory ornaments,and the beautiful images have no fixed structure"and the esthetic value of"the sublimecomplication of various artistic expressions"—the two esthetic attitudes,in which theessence of the Chinese traditional painting philosophy lies,generated two major schoolsof the Chinese painting,while the latter—the sublime complication in pursuit of theesthetic sense of piquancy and pizzazz is most likely to be embodied in the contemporaryheavy-colored painting.The establishment of a painting genre should be based on certain tradition,and thereconstruction of the expression patterns of the heavy-colored painting should not onlybe embodied in the use of materials,but more importantly,in the continuation of itstradition—after all,this is not the improvement of materials but that of art.The essentialpursuit of the contemporary heavy-colored painting is how to continue and exert traditionand what cultural profundity it aims to convey.The thesis further consolidates theontological study of the contemporary heavy-colored painting for the purpose of bettersummarizing its basic artistic rules.