Homeland In Vision: The Theme Change And Aesthetic Expression Of Northeast Painting

Excellent art works always have the meaning of "hometown".For many painters,the process of painting creation is the process of facing the birthplace with the soul and expressing the love of the homeland with artistic creation,with "Meaningful poetic journey" to find spiritual hometown.Since the 20 th century,Northeast China in the sense of natural and administrative division has been influenced by geographical environment,regional customs,regional historical changes and social development.Based on their own aesthetic resources and aesthetic judgment,northeast painters in different times have consciously or unconsciously focused on Northeast themes and displayed northeast elements in various categories of plane paintings.Taking Northeast nostalgia as the artistic motif,gradually create a unique artistic style with earth aesthetics.This aesthetic expression full of northeast nostalgia is more concentrated and obvious in a certain period of time,a certain kind of painting or the works of some northeast painters.This dissertation abstracts the regional art form shown in these paintings into "Northeast painting",and tries to take the combing of theme evolution as the basis,from the perspectives of work theme,formal language,generative context,creative motivation and extraterritorial acceptance,Show the regional aesthetic characteristics and expression mechanism of " Homeland in Vision " in Northeast painting,and explore the aesthetic value of northeast painting.The "Northeast" in the title of the dissertation covers the three provinces of Liaoning,Jilin and Heilongjiang located in the northeast on the territory of the People’s Republic of China in space,as well as the Inner Mongolia Autonomous Region,which is geographically connected to the "Three Northeast Provinces" and has a similar cultural context,especially the style of art production.Time runs through all historical periods since the founding of New China 70 years ago."Northeast Painting" is a painting of country,plate,oil,color and mixed materials in the northeast painting style created by painters from the northeast or who have worked and lived in the northeast region and have a hometown feeling to the northeast.Their paintings are mostly influenced by the natural,social and human environment of Northeast China,and they show relatively obvious and recognizable aesthetic characteristics of the Northeast region in terms of subject matter,technique,concept and language.Analytical art research resources.The dissertation is divided into six chapters.Chapter I aims to analyze the realistic creative context that shapes the expression of nostalgia in Northeastern painting,and seeks the substantial influence of "social existence" on "Northeastern painting".Chapter II uses time as a clue to sort out the thematic changes of Northeastern paintings diachronically,providing a deep historical context for in-depth observation of Northeastern paintings.Chapter III focuses on the narrative in the typical Northeast painting works,and interprets the meaning of the natural and cultural landscapes with the most Northeast local characteristics that the painter has meticulously described.Chapter IV analyzes the aesthetic language of Northeastern painting,and comments on the visual tension presented by Northeastern painting from the aspects of composition,color and line.Chapter V sorts out the comments of the Northeast painters’ group on their own art creation,showing the artist’s perception of the homeland and the creative expression process of the local art.Chapter VI sorts out the "other views" of Chinese art critics on the works of Northeast painters from the perspective of "aesthetic acceptance",showing the cross-cultural understanding of the aesthetics of the Northeast region and the nostalgia it carries in the eyes of "viewers".The conclusion reiterates why Northeast painting constitutes an artistic existence and an independent topic that can be "watched",and reveals the aesthetic significance of its spiritual homeland.The research found that the paintings of Northeast China are presented in the history of nostalgia,writing a "visual history of Northeast China".Northeastern painting is rooted in the love of the country and has a profound historical significance.In the early days of the founding of the People’s Republic of China,the traditional Northeast revolutionary themes and the Northeast’s socialist production and construction themes were heavily depicted,to the new Northeast fine arts represented by the "Lu Xun Academy of Fine Arts Phenomenon" under the influence of the modernist expression style and "nationalization of oil painting" after the 1980 s.,and then to the expressive depiction of Northeast society and urban life in the "post-industrial era" in the new century,it can be said that in terms of creative subject matter and expression style,the typical creative elements shown in Northeast painting in various historical periods since the founding of the People’s Republic of China 70 years ago.Such as the great revolution,the joy of the harvest,the changes of factories and mines,the nostalgic scenery,the confusion of the city,etc.,all of which reflect the development track of the Northeast society and the spiritual transformation process with nostalgia as the background.Northeastern painting provides a different kind of image historical evidence for reproducing the social development and spiritual map of Northeast China in the past seventy years.Northeastern painting takes nostalgia as a sustenance and presents a school of "earth aesthetics".The most typical form of Northeast painting is composed of great and beautiful composition,rich and heavy colors,lines that combine rigidity and softness,and intuitive and lyrical language,creating an "earth atmosphere" full of black soil nostalgia.The painting styles and tendencies such as roughness and heroism,unrestrainedness and freedom,publicity and expression can all be placed in the narrative lineage of "earth aesthetics".From the perspective of aesthetic acceptance,the group of Northeastern painters and the style of Northeastern painting that have received the most attention in Chinese art circles are also related to the "Northeastern Earth".The acceptance and comment of Northeast painting by Chinese art academia is also the acceptance and comment of the characteristics of "earth aesthetics" rooted in the nostalgic context of black soil in Northeast China.The painting practice of Northeastern painters using nostalgia as a narrative motif provides a "method of imagining the hometown".This is a kind of local realistic art tradition that was deeply rooted in the period of modern struggle and struggle in Northeast China.A method of artistically reproducing the complex emotions of the great changes in the homeland in an expressive style.This kind of painting narrative based on the Northeast and constantly surpassing the Northeast persists in finding a critical,introspective and self-aesthetics between tradition and modernity,between numerous foreign theoretical tools and complex Chinese local culture.Express.In the era of increasingly homogenous regional culture,the cultural character of Northeastern painters sticking to their hometowns and constantly returning to their hometowns may provide a meaningful reference model for Chinese painters to return to the spiritual homeland of Chinese painting more deeply.