Timeliness Painting

This dissertation, at the beginning, differentiates time from temporality in the term of their concepts, making a comparison of the concept of time of science with the intrinsic temporality of the activities of consciousness. What the ancient Greek art captured is the relay point that time extends from the past to the future, which occupies a consistent thickness of the time. Roman art began to turn to realism, where time is expressed as a tangent plane, not containing a retrospective of the past and the extension to the future, with a result of losing the thickness on the temporality. Focus perspective, Anatomy and Shading Rules evolved in Renaissance Period defined the world as a material one in the opposition to the body. Although Impressionism started to pay attention to the expression of the time, they remained in the instantaneous concept of the time, being still restrained in the concept of time of science. Monet’s late paintings have a turning in the temporality, putting into the painting stretching consciousness of time. Cezanne’s paintings exclude the attitudes of the impressionist depicting "the transitory moment", through which he defends a much broader internal time consciousness. The temporality he expresses in his paintings borders on the Trinity of the ancient Greek sculpture and painting in the sense of the time, with the reflection of the present which connects the having-been present with the will-being in the natural intuition, a comprehensive melange and intersection of the past, the future and the present.However, according to the concept of time from Modern art, time is generally understood as motions in space, therefore with the reflections in the Modernist paintings that time is the multidimensional integration of the Cubist space and the form of the objective continuous motions of Futurist, or the abstraction of the concept from Abstract Art and the rhythm of the music, as well as the Surrealist depictions of subconscious dreams. By questioning time, Giacometti began to face the existing problems, not satisfied with the way that Modernism expresses time as a concept. He not only pictures the object, but also portrays his own consciousness. He depicts the combination of time, consciousness, and the phenomenon, integrated together from which the changing tracks generating from the pictures constantly approximating to the concept of time prior to the ancient Greek art, that is, at the present time, the past and the future are unified as the existence of "been". In Morandi’s paintings, the repeatedly relived depiction has a collusion with the emerging state of the ancient Greek painting between the plane and volume implication, revealing the "to be" state of temporality.The thesis finally concentrates on a try to discuss that the temporality of the Chinese painting features the attitudes and doctrines of Chinese Taoism, with an conclusion of there being an available comparison of the temporality of the moderate state of the motion and form in the ancient Greek art with that of the attitudes of Intrinsical Strengthening in the Chinese painting.