Reflection On The Concept First

The style of painting has been constantly changing since painting was considered as an art.Although the change is not best termed development,painting indeed derived from many more delicate artistic forms. Meanwhile,with the development of industrial production,science and technology,along with the changes of people's thinking and times,painting has survived many hardships from hopeless straits.At present,with the prevalence of post-modernism and the excessively overflowing of mass culture,as well as marginalization of cultural elites in society and various arts and theories on the conception of ideological supremacy in support of ideology and contemporaneity,what tendency will the art of painting show in the future? Do painting and contemporaneity really contradict,rather than coordinate each other,so much so that the two are incompatible as oil and vinegar?Hereinafter,the reason and significance of the existence of paining in contemporary era,the connection between painting and ideology or ideology on paining and the premise for the existence of painting as an artistic form with contemporaneity,the contemporaneity itself and the like will be intensively studied both theoretically and practically in the thesis,concerning the oil painting.The thesis is made up of seven chapters.Chapter One serves as an introduction of the origination of the topic as well as the current situation, significance and methods of the study,and definitions for some core concepts relative to the topic.The reason and significance of the existence of painting as an art are discoursed upon in Chapter Two,based on the fact that the characteristics of double composition and ego in painting along with the idea expressed in painting have long existed as well as directly bond up with the development of the art.Chapter Three is an analysis on the expression of contemporaneity in contemporary western paintings conveyed in expatiating on their rebellion against contemporaneity.In the fourth chapter,with the analysis and interpretation of the non-visual standard pattern,the non-pictoriality with the conception of ideological supremacy and the contemporary mannerism of pictoriality are clarified to be the greatest obstacle to the contemporary Chinese oil painting.The constancy of the essence and the contemporaneity in painting is expounded in Chapter Five,based on the analysis of the contemporaneity of Chinese contemporary oil painting from the perspectives of contemporaneity and pictoriality.The sixth chapter is an analysis from the perspective of sociology:in consideration of the cultural background of herd aesthetics,the turn of Chinese contemporary culture lies in the consciousness of elite culture;the enhancement of the positive aspects in ethnic factors carries much weigh in high-quality new cultural innovation in the contemporary era.Chapter Seven is the concluding part of the thesis,in which an idea is put forward that a well-educated contemporary artist must conduct properly,with a sense of responsibility as an intellectual as well as individuality as an artist.