Research On Contemporary Chinese Paintings With Ethnic Minorities In Inner Mongolia

Since the 20th century,modernity and nationality have become important issues in the study of Chinese modern art.Because the Chinese nation is a multiracial community,the understanding of the nationality of Chinese painting should not be limited to those who reflected in paintings of main stream art or Han people’s art.It is equally important to study the modernity and nationality of paintings on minorities subjects.The purpose of this thesis is to sort out a development sequence of Chinese paintings on ethnic minorities in Inner Mongolia,analyze its form languages and aesthetics images,illustrate its contemporaneity and nationality,and then explain its momentous significance to Inner Mongolia local culture and the development of contemporary Chinese paintings on ethnic minorities.Containing five chapters,the thesis’ main body separately analyzes five aspects of Chinese paintings on Inner Mongolia ethnic,minorities subjects:its historical evolution,the environment foundation and influencing factors in its forming and developing process,its painting language,its aesthetic images and its cultural value.The first chapter is mainly about the historical evolution of Chinese paintings on ethnic minorities in Inner Mongolia.Firstly,there is a historical retrospect of the ancient northern grassland nations’ fine art.In this part,the paper summaries the northern grassland ethnic minorities’artistic forms in each historical period,then expounds the communication and integration within the northern grassland culture and the Central Plains culture over the change of history,by what the former absorbed and mastered the painting skill of the latter.It also points out the difference in ideological and content between ancient nomadic fine art and contemporary Chinese paintings on ethnic minorities as well as their inner cultural connection.Secondly,in the overview of neoteric and modern Inner Mongolia Chinese painting,the section makes a list of famous Mongolian literati painters in late Qing Dynasty and early Republic of China,Mongolian and exotic artists who were renowned within Inner Mongolia during the Anti-Japanese War,and painters who came to Inner Mongolia from inner China places for research and sketch in decades of 1930s.It also introduces artists who entered Inner Mongolia during 1930s to 1940s such as Zhao Wangyun and Shen Yiqian,who opened up a precedent that portrait from life could be combined with Chinese painting on ethnic minorities,which had great significance both to Chinese painting on ethnic minorities subjects and Chinese painting’s art language transformation.Lastly it overviews the general developing situation,representative artists and basic painting language features of Inner Mongolia subject Chinese paintings which appeared after the establishment of People’s Republic of China.The second chapter includes two parts:one is the nature environment and ethnic culture foundation which effects contemporary Chinese painting on Inner Mongolia subject;the other one is its significant art environment.The first part begins with a statement that the nature environment and humanity custom contributes painting art with fundamental elements and creative contents.Then it analyses and explains that Mongolian religion and ethos provides artists with inspirations to construct their painting spirit.Finally it analyses the phenomenon:under the background of the rapid development of modern society,traditional nomadic civilization is absorbing modern culture on both aspects of material and spiritual,therefore,artists choose various viewpoints and representing methods to express their cogitation of minority culture development.As for the second part,we first represent factors effected the forming and developing process of our study object in each age,such as literary policies and art thought tenders.Secondly,:in terms of the development of Inner Mongolia native art,we elucidate the connection between the actuality of the contemporary Chinese painting on Inner Mongolia minority subject with domestic fine art education and local art education of Inner Mongolia.At the same time,contemporary Inner Mongolia minority subject Chinese painting artists are divided in to three types:extraneous artists,educated youth artists and local artists,according to their different life experience.Furthermore,we analyze thoughts and emotions expressed by these three types of artists on their works.At the end of this chapter,by method of comparison,we analyze similarities and differences between Inner Mongolia fine arts and inner China fine arts main-stream under the influence of western art as well as the consciousness embodied under the social environment of contemporary national culture consciousness.The third chapter discuss form languages of contemporary Chinese painting on Inner Mongolia minorities subjects by two aspects of influencing factors and painting form language.Within these influencing factors,the close correlation between form languages of early Inner Mongolia minorities subjects Chinese painting and art languages of Xu-Jiang system shows a fact that during the particular historical period,Chinese painting of Xu-Jiang system was spread to remote minority areas with the support of the government because it was conducive to wartime art propaganda.As a result,the basic style and appearance of early ethnic Chinese paintings was formed.Secondly,according to birth decades,Inner Mongolia Chinese painting artists are roughly divided into three generations,base on which feature reasons of these three generations’ pictorial image and language is explained.The analyzation of the ontology of painting form language includes two parts:claborate-style painting and ink wash painting.It successively analyzes lines,shapes,colors and spaces of claborate-style painting on Inner Mongolia ethnic minorities subjects;multi-brush and ink styles,space expression of the ink wash painting;and how color-ink painting portray object’s spirit by colors.The fourth chapter is about aesthetic images of contemporary Chinese painting on Inner Mongolia minorities subjects,which includes two parts.The first part describes the Mongolian aesthetic and its formation.Firstly,the internal and external factors of the formation of national aesthetics are analyzed.Secondly,the characteristics of Mongolian aesthetics are described,and be compared with the center plains’ idea that "man and nature are one".Finally,the variation of traditional Mongolian aesthetics in contemporary Mongolian paintings is analyzed.The second part analyzes three typical images in contemporary Chinese paintings of minorities in Inner Mongolia:image of horse,image of Mongolia woman and image of hero;makes detail analyzation about their contemporaneity,nationality and cultural connotation;then concludes other aesthetic images in contemporary Chinese paintings of ethnic minorities in Inner Mongolia.The fifth chapter mainly talks about the cultural value of the research object and the current problems it faces.It first illustrates the contemporaneity and nationality of contemporary Chinese paintings of ethnic minorities in Inner Mongolia embodied in three aspects:contents,formal languages and ideological connotations.Next,it expounds the cultural value of Chinese paintings on ethnic minorities in Inner Mongolia.And the thesis ends with a discussion of development prospects and difficulties of Chinese paintings on ethnic minorities in Inner Mongolia in the context of globalization.