Fusion And Creation

Yunnan is located in the southwest border of China,with a special geographical environment and abundant resources of animals,plants and national culture.Because of the traffic problem,Yunnan is long time away from the mainstream culture,regarded as the "secret land".Since ancient times,this region has a unique cultural heritage.Its art style and the Central China has a greater difference,with a distinct regional personality.In 80s,90s in the 20th century,at the beginning of China's reform and opening up,various trends of thought began to arise.Many painters rooted in Yunnan felt the change of the times and combined the profound local cultural elements with foreign cultural elements,traditional cultural elements and modern cultural elements.Taking Yunnan's magical and colorful regional scenery,long national history,multi-symbiotic national culture as the subject painting,they drew a large number of excellent works,Creating "frontier wild land","form situation","life situation","magic spiritual realm" in the picture to cause a wide range of influence at home and abroad.People all over the world paid attention to this kind of picture.The pictured attracted a large number of followers.These works can be regarded as a valuable asset in the development of Chinese national fine arts.They have made deep breakthroughs in both content and form.They have greatly enhanced not only the artistic status of Yunnan,but also the rich interpretation of the ethnic culture in Yunnan and even the whole country under the specific background of the times has many values in anthropology,ethnography and fine arts.It is a milestone in the development of Chinese national art and the development of modern art.From the perspective of the development of national fine arts and the process tool of "creation",this paper studies Yunnan ethnic subjects painting creation of 80s and 90s in 20th century,under the premise of persisting in regional personality,the successful experience of creating brilliant artistic achievements was discussed through the integration of multiculturalism.By analyzing the numerous artistic phenomena and artistic groups which constitute the motif of Yunnan ethnic subject painting in this period,this paper clarifies the detailed historical background of this period,and probes into the status of its artistic phenomenon in the process of Chinese art in modern and contemporary times.This paper also explore the aesthetic spirit and times in art objects and painting schemata,hoping to reveal the core issues of mutual exclusion and integration between Chinese and western cultures,abandonment and inheritance of traditional and modern cultures,dialogue and integration between marginal and mainstream cultures,and so on.The paper is divided into 5 Chapters except the introduction and conclusion.Introduction is based on the accumulation of relevant field research in recent years.Combined with the current academic research trends,the research direction and topic of the paper was chosen,as well as the academic value and significance of the paper.In addition,the paper gives a definition and brief analysis of the concepts of "Yunnan ethnic painting" and "creation",and puts forward the significance of "creating environment" as a process tool.Chapter 1 is based on a great deal of literature and field research,and investigates the source of Yunnan ethnic subject painting during 80s and 90s in the 20th century-"the pluralistic and integrated environment of ethnic folk culture".It is pointed out that the development of Yunnan ethnic art is influenced by the regional natural background,historical background and cultural blending background.This chapter expounds the historical causes of the multi-symbiotic national culture in Yunnan,and the unique cultural phenomena such as the blending of the road culture and the culture brought by the population flow,etc.,and enumerates the specific cultural phenomena in 80s and 90s in the 20th century.Yunnan ethnic theme painting creation had direct influence on cliff painting,murals,ancient Yunnan bronze ware,national architecture,national costumes and typical folk art styles such as Yunnan armor and war horse modelling,paper-cut,Dongba painting and so on.These backgrounds provided the foundation to the creation and development of Yunnan ethnic painting and its characteristics of pluralism and integration in 80s and 90s in the 20th century.Chapter 2 studies the time factor that had an impact on Yunnan ethnic painting in 80s and 90s of the 20th century-"the situation of Yunnan ethnic painting creation under the impetus of the times".This chapter expounds the development situation of Yunnan fine arts since the founding of the people's Republic of China,the artistic creation situation after the reform and opening up to the outside world and the formation and academic context of Yunnan modern fine arts.These factors acted directly on the painters in 80s and 90s of the 20th century.The creators of Yunnan ethnic paintings constituted their unique cultural stand and aesthetic orientation.At the end of this chapter,it introduced the development of Yunnan painting creation and important art phenomena and groups in 80s and 90s of 20th century,including "Shen she","Yunnan painting School","New figurative" group,Yunnan printmaking phenomenon,sketching activities.These art phenomena and groups have a direct relation with Yunnan ethnic subjects painting creation in 80s and 90s of 20th century.Taking a large number of authors and works as gist,the "creating environment" as a process tool,chapter 3 analyzes a lot of factors which have great impact on painters to interpret the causes of aesthetic conception in Yunnan ethnic painting creation,such as Yunnan's beautiful and colorful natural landscape,profound historical accumulation and diversified national aesthetic culture,exuberant life consciousness,unique religious and belief conditions and so on.The chapter 3 sums up the aesthetic conception of Yunnan ethnic subject painting into four parts:"frontier wild land","form situation","life situation","magical spiritual state".This chapter lists more than 170 works of more than 50 painters in 80s and 90s of 20th century,completely covering the directions of Yunnan ethnic subjects painting creation in that period.In view of the authors' creation process and artistic conception created in their important works,this chapter carries out detailed analysis and research to track back to the origin of regional culture and national culture of their works,analyzing the aesthetic characteristics and unique artistic conception of their works.Chapter 4 continues to analyze the subject of Yunnan ethnic painting creation in 80s and 90s of 20th century which was expounded in chapter 3 and then conducts a discussion about integration of multi-culture in art and the creation of aesthetic artistic conception,and the content of the discussion are mainly about:the problems of edge and mainstream,region and whole in the field of national art;the relationship between the inheritance of Yunnan regional national culture and the creation of ethnic themes;the development of regional artistic conception;the four main artistic conception from the angle of regional aesthetic field which are "frontier wild land","form situation","life situation"and "magical spiritual state";the traditional art complex and the modern thoughts;the role and significance of the confrontation and blending of the Chinese fine arts elements and the western art elements and so on.Then chapter 3 deduced the derivation and significance of the new national art field in the multi-cultural fusion of Yunnan ethnic painting creation and the creation of aesthetic artistic conception in 80s and 90s of 20th century.Chapter 5 is based on extensive field research,continuing on former things such as the trace and research of Yunnan ethnic painting creation in 80s and 90s of 20th century,reflection on the fluctuation of ethnic customs,the establishment of multiple evaluation system and the impact of commodity economy on ethnic painting creation;the possibility of expressing the regional situation and realizing the breakthrough of regional symbols in the globalized cultural field.Then,according to the successful experience,this chapter looks for the inspiration of Yunnan ethnic theme painting in 80s and 90s of 20 century to look forward to the development of various possibilities and vigorous life in Yunnan and even all China regional ethnic arts in China.