| Modern Tibetan palinting is an important part of Chinese art and a unique artistic tradition of Chinese ethnic art.This practical artistic tradition stems not only from the active historical evolution of Chinese ethnic art,but also from the integration of multiple cultures in the context of the times.It is not only closely related to the historical process of modern China,but also to the creative power of modern Chinese culture.How to dig out and explain the practice and model of this ethnic art tradition,how to combine this unique historical experience,and creatively explore the multiple possibilities for the future development of Chinese ethnic art,this is not only academic research,but also our process in social history Constant problems.The characteristics of Tibetan aesthetics of"geographical culture" as shown by modern Tibetan painting in the second half of the 20th century.Its value also emerged from the changes in modern society,and has given the development of modern Chinese art,especially the future development of Chinese ethnic art.Comes with a clear sense of subject and cultural identity.Due to the geographical and historical reasons of Tibet,the modern painting and artist groups in Tibet have been in a state of "a partial peace",and the art world has paid little attention to this.However,with the spread of modern transportation,information technology and new media since the reform and opening up,Tibetan modern painting has been And the artist community gradually unveiled the mystery,so that people recognize the modern Tibetan painting born on the Tibetan Plateau,its sharp artistic angles,and the philosophical ideas and culture reflected in the confusion brought about by the contemporary cultural shock development Persevering and enlightening the advancement of Chinese art from "plateau" to"peak" is precisely the embodiment of Chinese culture with "standing in China,learning from foreign countries,digging into history,grasping the contemporary,caring for mankind,and facing the future." China is more national and international,with a Chinese cultural stance and attitude in the new era.This thesis studies the "Tibetan aesthetic style" reflected by modern paintings in Tibet in the second half of the 20th century from the perspective of the development of national fine arts and "geoculture" as a co-ordinating method,and explores the geoculture formed in Tibet's geoculture Connotation and aesthetic style,creating unique artistic practices and models.By analyzing the artists and art groups that form different backgrounds in this period,clarify the detailed historical background that occurred during this period,summarize its special cultural connotation and aesthetic expression,comprehensively explore the relationship between its artistic phenomena in the process of modern Chinese art,and explore the hidden The spirit of the times and the characteristics of regional aesthetics,with a view to exploring and revealing issues from the perspective of the integration and turning of times and regions,the transformation and development of traditional and modern culture,and the expansion and identification of identities.Starting from the "geographical culture",exploring the "geographical aesthetics" style of Tibet is a new vision and new method for the study of ethnic arts.Taking the geographical space of the Tibet Autonomous Region as the category,on the basis of the traditional context,combined with the aesthetic needs of the times,expand the humanistic space,so as to form the experience of geospatial remodeling and practical reconstruction.The Tibetan aesthetic characteristics formed in this way can further deepen the cultural connotation of ethnic art and broaden the visual expression of ethnic art.The "geographical culture" of modern Tibetan paintings was nurtured in the unique geographical,historical,and religious backgrounds of Tibet.The geographical environment is the soil and objective basis for the creation of national culture and art,and has formed the spiritual and social characteristics of Tibetan history.The religious beliefs in Tibet deeply influence and guide the artistic aesthetic expression of local people.From the original ruins to Thangka and modern paintings in Tibet,the pursuit of art value has realized the transformation from "divine" to "human".The pursuit reflects a strong "Tibetan style".The characteristics of the "geographical culture" of modern Tibetan painting are generated by the mutual promotion of internal and external factors in Tibet.The artists of modern painting in Tibet maintain contact,intersection,overlap and mutual influence between space,time and the crowd in the external art world.The external cause is mainly the artist's feelings about people and the times,art and society,and he has formed a "propositional" creation and interpretation of Tibetan theme paintings and Tibetan paintings from the perspective of "others".The internal cause is the culture from the inside out of the transformation of Tibetan society,economic development,and cultural exchanges in the second half of the 20th century when artists of different backgrounds gathered in Tibet in the positioning of historical latitude and longitude and personal coordinates.conscious.Modern Tibetan painting in the second half of the 20th century has experienced several stages of historical development including peaceful liberation,democratic reforms,the "cultural revolution",and reform and opening up.It has a clear development context and has formed a unique regional artist group and artistic phenomenon.And show different geocultural characteristics in different development stages.The modern paintings in Tibet in the second half of the 20th century embodies the unique "geocultural" connotation,namely:the harmonious connotation of"great beauty",the secular connotation of "belief',and the true connotation of"delabeling".The three types of artists with different identities gathered in Tibet have different "geo-aesthetic" styles due to the subject matter content and visual performance of the painting,namely:"Weimin"-the theme selection and visual performance of local cultivated artists;"Weizang"-the theme choice and visual expression of local artists who returned from study;"Weishi"-the theme choice and visual expression of artists who have long been working in Tibet.With their respective perspectives on issues such as religion and culture,urbanization and modernization,personality and identity,they present artistic expressions about history and memory,globality and region,experience and perception in their paintings,in search of regions in the second half of the 20th century Inner connection with culture.The "geocultural" characteristics of modern Tibetan painting in the second half of the 20th century brought due reflection and enlightenment to the modern development of ethnic art and Chinese art.Reflection:Cultural thinking and artistic expression in modernization and creative field and communication promotion in commercialization;Enlightenment:the expansion of modern Tibetan painting in the era and regional plot and the road of ethnic art in the context of"geographic culture".In this way,we look forward to the various possibilities and vigorous life of the development of ethnic arts in various regions of China. |
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