Chinese Language Study Classical Style Portrait Painting Since The1990s

Since the1990s, due to the profound social changes and continuing opening up policy, the colliding and blending of Chinese and Western thoughts, Chinese ar t circle has entered a multiple coexistence stage where the mode of expression, v alues, behavior, theme, and culture emotion of this age developed radically. In thi s special environment, Chinese classical style portrait painting faces grave challeng es as well as rare development opportunities. Challenges come from the prevalenc e of Western modern art (everything for innovation) and death of paintings. Oppo rtunities stem from advocated policies for diversity, the gradual return to represent ational oil painting, the development of market, and the mature of galleries indust ry.The paper can be divided into five chapters. The first chapter gives a brief review of the development and language features of classical style portrait oil painting in the1980s China, which plays a natural role of undertaking and contrasting in classical style oil painting study since the1990s. The second chapter focuses on the formation of painting language, the background of transformation and the affecting factors of classical style oil painting since the1990s. The third chapter analyzes unique features of the classical style portrait oil painting language since1990s by comparing it with that of1980s from the content and theme, aesthetics ideas and material skill method. The fourth chapter analyzes the painting language of the representative classical style portrait painter of this period, with which to explore their personality traits and spiritual core in composition, shape, color, technique, theme, taste, etc. The fifth chapter gives suggestions on modernity, aboriginality and transition of the language of classical style painting. These five chapters make up the main framework of the paper.In conclusion, we state that first, the study of classical style portrait oil painting has been moved from material techniques to spirit and humanity concerning after20years’ development. theme, technique expand further integration. Second, comprehensive study is necessary because the study of classical languages cannot be limited in the style of techniques but the style and orientation should be closely related with personality, aesthetic, social environment, ideology, national spirit and the theme. Third, the study is not only an important issue in contemporary Chinese art history since the1990s, but also a vital realistic problem in sustainable development. Though there are many difficulties and bottlenecks, we still trust that fruitful achievements will be obtained in the near future with the future merge of oriental spirit and western realism techniques.