Research On The Localization Of Chinese Photographic Art In The Early Twentieth Century

Since the end of the 19th century,western ideology,culture and art which invading China constantly,posed unprecedented impact on cultural and artistic.At the beginning of the 20th century,it was an important stage in the development of Chinese photography art.In the context of China and the West collision,photography art has flourished in the history of Chinese photography.Intellectuals involved with the New Culture Movenment began to to explore the art of photography.They uesd their knowledge and artistic sensitivities to pioneer photography art in China.Their contributions made photography from age of mechanical reproduction to that of artistic creation,setting the tone and direction for creative endeavors in Chinese modern photography.From the germination to the development of independence for photography art in China,the Chinese people who have been influenced by the visual experience of traditional Chinese culture have undergone a second transformation,forming a self-subject construction of "localization" and independent viewing.This thesis studies Localization of Chinese Photography Art in the 20th century as the research object,starting from the development of photography theory,style and performance theme and the development of creative subject,answering how photography in China sprouts,develops and grows.It began to form the basic face of early Chinese photography culture.Furthermore,this thesis makes a detailed analysis on the impact and reflection of photography on the traditional visual experience of Chinese people.And on that basis,this thesis presents an analysis of the changes of Chinese photography from traditional to modern under the influence of new visual aesthetics.The development of photography in China recorded the great changes of Chinese cultural modernism in the first half of the twentieth century,and participated in the construction of modern culture;it became a way for Chinese culture to seek national identity at that time.At the same time,it also reflects the state of artistic creation of the strong national spirit appeal and contradictory anxiety of the period's intellectuals and artists in the photography team at that time.With the advancement of industrial civilization,the communication system of photography art has undergone a modern transformation.Thereafter,photography art was represented in multiple ways,such as the establishment of photography art journals,emergence of photography art associations and dissemination via art exhibitions.These communicative approaches support each other and greatly promoted the development of art photography.On the one hand,it expands the practical significance of visual aesthetics in photography,and which to different extents played a role of visual enlightenment and to some extent changed the traditional concept of visual aesthetic.On the other hand,through the change of ideas and social culture,the visual language of photography is revived.In short,the significance of studying the photography in the 20th century is not a"nostalgia",rather on a key point to explore-for photography artists,how to expand the new aesthetic space to construct a style of local photography discourse,This will be a long-term continuation topic.In some sense,with the emerging of "omni-media era" and thrive of the image art,we need to re-examine the superiority and inferiority of self-civilization.While inheriting and developing the essence of national culture,we dialectically absorb the strength of the world's ideological culture.It can not only beneficial to the future development of nowadays Chinese photography,but even more importantly offers contemporary Chinese artists with more ideological material and theoretical sources for their photography creation.At the same time,it explores various possibilities of photography in contemporary artistic context.