The Traditional Chinese Figure Painting Study Of Shanghai School In The Late Qing Dynasty And The Early Republic Of China

The traditional Chinese figure painting of Shanghai school in the late Qing Dynasty and the early Republic of China is in the transition period from the classic to the modern in the history of Chinese art.It included the “Gaiqi,Feidanxu school”inherited the Wu school's style,“The Ren School”inherited the Chen Hong shou and Hua Xinluo and“Shanghai Chenghuang Temple School”inside the traditional Chinese figure painting of Shanghai school under the special society history and culture background regarding Shanghai which is rising in modern times as platform carrying on the traditional schema of painting of man-of-letters in Jiangsu and Zhejiang areas since Ming Dynasty and Qing Dynasty.The paper aims at untangling the development of three styles of painting's creation,analyzing the objective social factors,tracing the source of painting's style,discussing and resolving different styles of painting's formation,painter group's formation and the style characteristics and spiritual core,revealing the important roles serving as a link between past and future in the process of development of traditional Chinese figure painting even transformation of Chinese art which is enlightenment to rising of modern Chinese figure painting in the middle and later period of 20 th century.Specifically,This paper takes traditional Chinese figure painting of Shanghai School as research object from the middle and late 19 th century to the early 20 th century,the late Qing Dynasty and the early Republic of China.Firstly,the 1st Chapter proceeds statement to time background of The traditional Chinese figure painting of Shanghai School,formation of painting style and origin.discusses the external objective factors the influence its development and background of the times,puts forward a general survey of three styles of traditional Chinese figure painting in Shanghai style from the perspective of the trace of painting's style,progressing with analysis and statement to trace system combined with historical facts to build the overall framework of the content of the paper.Secondly,Based on the creation study of the painting's three styles,two or three and four chapters are set up respectively.These Chapters respectively states the three styles' own art practice in this period systematically based on historical data and traditional Chinese figure painting art work.These contents analyse and state their own artistic creation of the open painters' style,put forward their own opinion to artistic features ofeach style of painting and its continuity and influence,comb three styles' own formation of painter group and the artistic practice and development of the backbone painters,make a statement of their own ideas.Finally,the Chapter 5 combines with research production of creation and development in the first three chapters,makes a summary and conclusion to connection and difference of their constitutive relation and puts forward their ideas and thoughts about the historical status and corrupt practices.Above the three styles' carding and parsing,it not only can further improve the holistic research of Shanghai School traditional Chinese figure painting,but also offer the important academic value to master the development of Chinese figure painting and the modern transformation of Chinese fine arts.