The Research On Tao Lengyue

The first half of the 20 th century represented a key period in the history of Chinese fine arts.With the continuous introduction of western paintings,Chinese paintings developed in great difficulties through consistent transformations and innovations.Mono-cultural paintings dominated by literati paintings gradually developed to multi-cultural paintings characterized by the rise and fall of the new and old paintings,and the blending of Chinese and western paintings,and gained more free space for growth in a relatively open cultural background,thus fully demonstrating the flexibility in the creative thinking of painters and the selectiveness of painting styles.During this period,unlike such famous masters as Huang Binhong,Xu Beihong,and Lin Fengmian,who innovated and made contributions to the improvement of traditional Chinese paintings,Tao Lengyue was one of the majorities of the trail-blazers who also did the same thing but were long forgotten due to various reasons.As a representative of “the prototype of innovative painters” during the early stage of the integration of Chinese and western paintings,Tao experienced two distinctively different art lives,which were divided by the 1950 s.In this paper,on the basis of their cultural perspectives and performance forms,Tao's paintings are reinterpreted by studying an individual case,so as to better understand art phenomena during this period through this case.Having obtained a great deal of first-hand materials through preliminary investigations,the author of this paper categorizes Tao's life course and period of art career into concrete phases,so as to further make clear his life experiences and art courses at different phases and stages.The formation of Tao's ideals of painting is analyzed through the combination of special social context and cultural background,so that Tao's proposals can be fully expounded on the basis of a comprehensive understanding and grasp.The author expands the performance range and subjects of Tao's art,and tries to comprehensively discuss such aspects of Tao's art as types,languages of designs and activities from many aspects such as temporal and spatial factors,especially that as for Tao's research domain of “new Chinese paintings”,the author will proactively transform ideas and seek the collisions and integrations between Tao's painting ideas,skills and styles and those of other Chinese painters and of relevant Japanese painters by comparing the differences among them,so as to form new ideas and systems of corroboration.As for sketch manuscripts and photographicarts,which are unconcerned or less concerned in current researches,the author of this paper will grasp them by establishing relationships among sketch,photograph and creation on the basis of their respective artistic characteristics.In addition,the author will analyze Tao's conceptions and practices in education in view of the influences of such factors as his special educational background and Cai Yuanpei's thoughts in aesthetic education,so as to provide necessary references and enlightenment for contemporary art education,and to impartially and objectively evaluate Tao lengyue from a reasonable perspective through a holistic grasp and a comprehensive analysis.The author will also fully affirm the positive factors in Tao's arts that hold vitalities,and reexamine and rethink profoundly the outdated and rigid factors,so as to provide right directions and focuses of references and innovations for the future generations,and to continuously offer new references and coordinates for the assessment of its future values.In this paper,the author allows Tao's artistic background to reappear and restore,and reorganizes his own course of development and the development skeleton of his group by investigating in depth Tao's individual cases.The author touches the internal and deep-seated factors by penetrating the external performance and characteristics,so as to better understand and grasp,thus providing necessary supplement for the perfection of art history of the Republic of China.The author is committed to continuously exploring in traditions,finding in reference,and conducting open and multi-dimensional researches from new heights and horizons under the guidance of reasonable thoughts.Meanwhile,the author also aims to provide certain referential values for painting learning of the vast numbers of contemporary scholars.