The Research Of Early Cubism Painting In China

This paper entitled "The Research of Early Cubism Painting in China”, the main research subject is the spread and practice of cubism in China in the 1920 s to 1940 s, also with the evolution and development of early 20 th century native western painting movement. Related practitioners hope through application of reference and plan of western modernism in order to promote the revitalization of Chinese art. Chinese early cubism paintings present the richness of easel painting as well as other relevant forms of visual art, ranging from oil painting, watercolor, prints, cartoons, illustrations, etc. The multiple cultural identities of related painters contribute to the Chinese modern art experiment with the effect of “joint efforts”. Cubism in China is not a genre, but a language aptitude, embodying the early 20 thcentury Chinese artists which explore the tendency of cubism language in different degrees, and rendering tangent plane expression, geometry decomposition and space composition, etc.., which become the third most important system of abstract language except the realism and the performance in 20 th century in China.In this paper, the first chapter is “The International Visual Language Revolution”, which focuses on the spreading process of cubism from the west to Asia, esp. to China, and the history of its academic development; the second chapter is “The Mainstream of Easel Painting – the Relevant Practices of “Deformation” in the Modern Chinese Oil Painting ", which focuses on the appearance of related art language in relevant school and community; the third chapter is “The Media Undercurrent – the Relevant Practices of “Deformation” in the Chinese Modern Visual Transmission”, which focuses on the appearance of related art language in relevant social media undercurrent; the fourth chapter is “The Academic Confluence –the Language Interpretation of early Cubism in China”, which focuses on the analysis and discussion of relevant artistic language problems; the fifth chapter is “The Contemporary Thinking of Cubism in China", which focuseson the content of relevant experimental problems.The native Cubist language in China has a synchronic feature, which with the diachronic development of western cubism 30 years earlier, forms the unique dialogue about western modernism transplantation and reference. As “the third century experience ”of Chinese oil painting, through its relevant constructive and timeliness problem thinking, exploring anew direction of the localization of modernism art. As academic easel art experiment, it is necessary to have a prospective strategic thinking about the discipline of classical and resource-based subject development. The creative experience of Chinese early cubism formed the so-called “cross-border dialogue” in easel art. With Chinese contemporary experiment in easel art, through its classical heritage, knowledge service and cultural creative, which has the relationship of art resources, through art resources management and social practice, that transform the relevant artistic language heritage into effective cultural capital and blend with contemporary cultural creativity, which has a certain academic value and social meaning.