Research On The Creation Of Traditional Chinese Paintings With Minority Subjects In Modern And Contemporary Western China

As an important part of Chinese modern and contemporary art,the traditional Chinese paintings on the subject of ethnic minorities in the western regions not only own many creative groups,but also have produced considerable excellent works.They show the artistic thinking of Chinese modern and contemporary artists on the changes of Chinese minority culture and life.Meanwhile,they vividly reflect the expansion and changes of the artists' aesthetic thinking in the process of social and cultural transformation,and constitute a different kind of scenery in the history of Chinese art and even in the whole art history.However,from the perspective of the current academic research status,the study of traditional Chinese paintings on ethnic minorities in the western regions often falls into the thinking dilemma of fragmented explorations due to the lack of systematic theoretical research and solid historical review,thus overshadows the possibility of in-depth exploration of its aesthetic value.In view of this,this thesis attempts to conduct a more in-depth systematic and comprehensive study on the ethnic minorities themed traditional Chinese paintings,which have been represented by Uygur,Mongolian,Tibetan and other western ethnic minorities since modern times,by combining relevant theories and academic research paradigms of art,fine arts and ethnology.This article is divided into four parts,with an introduction and a conclusion.The first part of the article is mainly to analyze and research the historical context of the creation and development of traditional Chinese paintings on the subject of ethnic minorities in the western regions of China.In the meantime,it reveals the creation backgrounds,creation phenomena and character image features in different historical periods.Throughout the nearly 80 years of development of traditional Chinese paintings on the subject of ethnic minorities in the western regions,with the changes of society,economy and culture,the paintings have also undergone a conceptual and visual transformation in different historical and cultural contexts.For example,works during the Anti-Japanese War were mainly devoted to the expression of a kind of resentment and sadness;works in the Seventeen Years Period(1949-1966 A.D.)mainly focused on the artistic praise of the new life;while the artistic characteristics of the works during the “cultural revolution” were mainly reflected in the single shaping of artistic images.The second part of the article mainly studies the group of artists of traditional Chinese painting on the subject of ethnic minorities in the western regions.Artists take landscapes and characters in specific ethnic regions as their objects of depiction.Many of the same factors in the regional characteristics have shaped some common features of the artists' works.At the same time,due to the artists' personalities,artistic experiences and the overall understanding of life,their creations present individual differences.In comparison,the "born and bred" minority artists have the advantage of inherent perceptual experience of local culture,which can break through the alienation caused by the "others" perspective of non-local artists,and their intimate emotions condense their local material into a concretely visible artistic image.While non-local artists are good at sensitively capturing the special beauty of ethnic minorities,and taking "ethnic vitality factors" to enrich their works,thus making them more rational.The third part of the article mainly studies the performance of traditional Chinese paintings on the subject of ethnic minorities in the western regions of China.The most fundamental difference between traditional Chinese paintings with ethnic minority themes and those with other themes lies in the differences in materials and objects of expression.The core element of traditional Chinese paintings with ethnic minority themes is the“minorities”,whether it is to express the daily labor,sacrifice,marriage and festivals;or to show the beauty of the ethnic clothing,of the landscape,of songs and dances,or to manifest the spirit of religious piety,of life,of maternal love or of solidarity,it all roots in the understanding and perception of the “ethnic minorities”.This in-depth and layer by layer revelation of “The key elements of the ethnic minorities”also makes traditional Chinese paintings on the subject of ethnic minorities in the western regions to avoid a cultural shallowness as much as possible and endows it a more profound cultural implication.The fourth part of the article mainly studies the artistic characteristics of the traditional Chinese paintings on the subject of ethnic minorities in the western regions.Compared with other traditional Chinese painting themes,these paintings are characterized by religion,nationality,lyricism and pluralism.The changes of painting concepts drives the in-depth exploration and advancement of the painting language,thus promoting a more confident,open,harmonious and diversified creation style of traditional Chinese paintings on the subject of ethnic minorities.Through the study of the above four issues,this thesis outlines the overall appearance of modern and contemporary traditional Chinese paintings on the subject of ethnic minorities in the western regions of China.Meanwhile,it highlights the artistic motivation and style characteristics of individual creations.The article also holds the view that the future direction of the traditional Chinese paintings on the subject of ethnic minorities in the western regions lies in the integration of the creation with ethnic minority cultures,and the fundamental guarantee for the creation of the traditional Chinese paintings on the subject of ethnic minorities is to face the modern world based on its own tradition and to root in the people.To provide a clear prespective of creation development and aesthetic characteristics of The modern and contemporary Traditional Chinese paintings on the subject of ethnic minorities in the western regions,and to provide a historical mirror and experience reference for practitioners who are currently working on the ethnic minorities themes.