Study On The Intuition Of Oil Painting Language In The Oriental Context

In this dissertation the concept of "language intuition of oil painting language" is clearly put forward.The "intuition " of the oil painting language in the context of oriental culture is a methodological issue of oil painting language research.Following are the main points of this dissertation.First,in the context of oriental culture,the change of intuition of oil painting language is a historical necessity.Second,returning to the awareness of ontology is the basic way to expand the language intuition of oil painting language.Third,with the dialectic method the artist could explore of basic opposing issues and deepen the language intuition of oil painting language.Finally,with the holistic intuition the artists could expand and deepen the language intuition of oil painting system,thus form and creat a new oil painting language style.In the process of argumentation,the author used research methods such as linguistics,history,iconography,and fieldwork.This dissertation is divided into four chapters for argumentation: Chapter one,from the perspective of history,the author traces back the historical nodes of oil painting language evolution,analyzes the exploration process of oil painting language by the third generation of Chinese oil painters,then demonstrates the language intuition of oil painting language along with cultural language changes in circumstances are the norm of history.In the context of Eastern culture,it is a historical necessity to change and expand the intuition of oil painting language.In the chapter two,from the perspective of ontology,the author demonstrates that returning to the ontology is basic way to expand the intuition of oil painting language,including: the awareness of the ontology of oil painting language,the consciousness of the ontology of oil painters,and the deep consciousness of nature ontology,awareness of the common principles of different arts,returning to the human spirit.In the chapter three,with the dialectics the artists could deepen the intuition of oil painting language.The author discusses some contradictory issues of oil painting language(such as form and content,commonality and individuality,abstraction and figuration).In the chapter four,from the perspective of holistic view,the author demonstrates that integrity and systemicity are the internal logical framework of oil painting language intuition.The awareness of the sense of wholeness is the key to the new expression of language sense.The sense of integrity is a basic problem of oil painting for the oil painter's whole life to face and explore.For the argument of the dissertation the author mainly takes the exploration of the third generation of Chinese oil painters as an example.Because the oil painting language has taken root in China and is closely related to the endless exploration of the third generation of Chinese oil painters.The most of them grew up from the 1950 s to the 1960 s.They experienced various changes since the establishment of the Anti-Japanese War,the Liberation War,and the founding of the People's Republic of China.They have profound research and experience in the history,culture,and art of the East and West.They committed to teaching and creation,and they are the main disseminator and explorer of oil painting language in China.Therefore,the artistic creation practice of the third generation of Chinese oil painters for more than 60 years is a typical case to discuss the intuition of oil painting in the context of oriental culture.The academic innovation of this dissertation is clearly proposing and deeply explaining the concept of "intuition" of oil painting language,and exploring the inherent nature of the evolution of oil painting language style from the " Awareness of language intuition ".The academic value of the dissertation lies in the choice of the methodological question about the study of oil painting language in the context of oriental culture-the theme of "awareness of language intuition",and in-depth discussion from four perspectives: historical perspective,ontological perspective,dialectical perspective,and holistic perspective.The change in the perception of testimony contributes to the evolution of oil painting language style,which has academic reference value for the academic community to explore the oil painting language intuition and artistic creation style.This author integrates the creative practice and academic research of the third generation of Chinese oil painters,attempts to provide a way for the direction of contemporary Chinese oil painting in the context of oriental culture and the artistic exploration of Chinese oil painters.The main point of view of this dissertation is a methodological personal insight.