Research On The Creation Of Grassland-Themed Oil Paintings Of Inner Mongolia

The art of oil painting in China is a diversified development,and oil painting with ethnic minorities as the theme is an essential section of it.The grassland of northern China,which is divided by the Inner Mongolia Autonomous Region as the administrative region,enjoys a long history and culture,and its grassland ecology and cultural landscape have constructed a unique concept of national aesthetic.For a long time,the artistic creation around the motive of “grassland” has never been interrupted,and it has a lasting regional charm and a cultural depth to explore.The creation of oil painting in the light of the theme of grassland originated after the founding of the People's Republic of China.Although it starts a little later than the inland and coastal developed areas,it develops earlier in the artistic creation of domestic ethnic themes,and has a relatively solid foundation.In the 70 years from its rise to prosperity and development,the grassland-themed oil painting of Inner Mongolia has a persistent creative team.With their unremitting efforts,they have made remarkableachievements in the field of national art.Once brilliant achievements have written a rich and colorful page in the history of the development of fine arts of Inner Mongolia,and the various causes and later effects behind its development stage are worth further studying.The combing of the exploration period and the summary of the brilliant period are beneficial to the positive development of national art in the future.At present,in the light of the research status of the grassland-themed oil painting of Inner Mongolia,there is still room to explore from the angle of breadth and depth.This paper attempts to comprehensively sort out it from the academic level,and further consider its practical problems.Nowadays,in pace with the rapid development of “globalization” and contemporary avant-garde art,the potential difference between national art and contemporary art makes the oil painters in Inner Mongolia fall into an awkward position.In the face of the changes in the grassland ecological environment,the continuation of the once lyrical tradition also makes the creation of grassland-themed oil painting into a bottleneck period.Under the background of the new era,we urgently need to find the problems existing in creation and explore how to deal with and change,in an effort to seek the innovative way of national art.Taking the 70 years since the founding of New China as the node,combined with the development of mainstream art,this paper makes an overall study on the creation of the grassland-themed oil painting of Inner Mongolia.From the synchronic and diachronic perspective,combined with the naturally and culturally ecological environment of the grassland,this paper carries out a textual research on the regionalcharacteristics from the perspective of anthropology of art,analyzes the humanistic background from the aspect of ethnology and culture,interprets the art ontology by means of aesthetics and iconology,combines theory with examples,and probes into its artistic and cultural value in multiple latitudes,with a view to opening up new ideas for the study of regional art.This paper is expected to highlight the problem consciousness,and structures the whole article,that is,it is divided into five chapters,for four points of focus on the discussion:Firstly,it gives a brief introduction to the geographical and cultural background of the creation of the grassland-themed oil painting in the first chapter.What's more,it also briefly describes the development context and time factors of the second chapter,focusing on the cultural circle of the northern grassland ecology,and discusses how to form,express and develop the grassland-themed oil painting under the comparative vision of the development of the national art form in the same period.Secondly,it introduces the classified study of the creative content of the works in the third chapter,and the artistic features and aesthetic analysis of the ontology in the fourth chapter,through the analysis of the artistic characteristics of the works and the horizontal comparison of the creation of oil paintings of nationalities in other areas.Moreover,this paper discusses the unique regional artistic character formed by the research object,and clarifies its artistic personality and aesthetic characteristics.Thirdly,this part introduces that in the cultural inquiry of the fifth chapter,the creation and development of grassland-themed oil painting is regarded as a dynamiclife body,and discusses what kind of role that grassland culture plays in its growth process,and how the artistic creation enriches and inherits the grassland culture.On the basis of the theory of artistic reflection and determinism,this paper studies the interaction between grassland culture and grassland-themed artistic creation in the contemporary context under the promotion of two-way influence.Fourthly,in the conclusion of this paper,through the systematic carding and academic analysis of the above article,this paper further clarifies the problems existing in the creation of contemporary grass-themed oil painting of Inner Mongolia,and discusses how to adapt to new changes,resolve new contradictions,generate new energy and coruscate new life in the new ecological and cultural context.