Study Of The Aesthetic Evolution Of Xinjiang Oil Painting Art In The New Period

Its unique medium,techniques and pictorial narrative present the social landscape of Xinjiang culture and art,highlighting the cultural stance and artistic attitude of the modernization process of Chinese art,as well as the reality of ethnic integration,with irreplaceable social,cultural and artistic values.The oil painting scene in Xinjiang during the new period was exceptionally active,with famous artists gathering and frequent activities.During this time,Xinjiang oil paintings of the new period launched an in-depth exploration of artistic ontology around artistic forms,stylistic language,and narrative logic,constructing a visual landscape of Xinjiang with a variety of subjects such as figures,landscapes,and animals,facing ethnic culture,artistic modernity,and Sociality,and conducting multiple discernments in the way on images etc.This study takes oil paintings on Xinjiang themes as the research object,between1978-2012.through a comprehensive sorting of author types,works,exhibitions,academic activities and other literary and historical materials on the creation of oil paintings on Xinjiang themes,clarifies the historical development,based on the essence of literature and art,with the help of knowledge and methods such as iconography,sociology and ethnography,explores the aesthetic development and changes of the new Xinjiang oil paintings,analyzes the historical causes affecting the aesthetic changes,points out the current It also analyzes the historical causes of the aesthetic changes,highlights the current problems facing the development of oil painting in Xinjiang,takes a historical view of the present,describes the strategies to deal with them,and clarifies the aesthetic thought and its value system constructed by the oil paintings on Xinjiang themes in the new period of more than thirty years.This paper highlights the awareness of the problem and uses it to structure the whole article,which is divided into four chapters for discussion: chapter one is the preliminary stage of the study,which mainly clarifies the geographical environment and humanistic environment in which the new-period Xinjiang-themed oil paintings took place,and conducts data statistics and analysis of the major academic exhibitions and related achievements,and explores the aesthetic value on the basis of the former.At the same time,from the perspective of art practice,the main factors influencing the creation of Xinjiang-themed art are discussed,including the natural environment of Xinjiang,traditional mural art,the economic market,the local customs,folk art and the subjective psychology of artists.Through the elaboration of Xinjiang oil painting creation themes,painting patterns and colors,the aesthetic and artistic style and artistic characteristics of Xinjiang thematic oil paintings are elaborated on the visual laws.chapter two analyzes the impact of the return of the "aesthetic theme of Xinjiang oil paintings in the new period" on artistic creation from the perspectives of development,characters and life scenes,aesthetic formation reasons and development time period,with the aim of revealing the causal relationship between the three and the inevitable connection between the subject matter and the creation of oil paintings in the new period.chapter three analyzes the aesthetic composition and changes of Quan Shanshui,Klimu and Zhao Peizhi’s creations by means of case studies,focusing on cultural background,artistic theme,artistic ontology and image narrative.It confirms that the aesthetics of oil painting in Xinjiang is in line with oriental culture and realist thought.chapter four analyzes the works of twenty-two representative oil painters on Xinjiang themes,and provides in depth arguments around aesthetic ideas and aesthetic characteristics,clarifies the reasons for the aesthetic transmutation of oil paintings on Xinjiang themes in the new period and reflects on them,and offers his own thoughts on the development of contemporary oil paintings on Xinjiang themes,exploring how they can adapt to new changes,generate new energy and give new life in the new ecological and cultural context.Finally,he proposes that the medium of oil painting needs to find space in the language of abstraction in the development of oil painting on Xinjiang themes,which provides a model for future oil painting on Xinjiang themes.The artistic creation of oil paintings on Xinjiang themes in the new period,from observing the subject matter,creating,producing works,and social influence,has built an ethnic family and image of Xinjiang with ethnic soul and spirit of the times,containing strong thoughts of ethnic harmony,ethnic cultural emotions and aesthetic attitudes,reflecting the consciousness of the Chinese national community,and helping to enhance the sense of self-respect and value of all ethnic groups in Xinjiang.Therefore,a systematic study of the creation and aesthetic transmutation of oil paintings on Xinjiang themes in the new era is not only a summary of the practical creation experience of oil paintings on Xinjiang themes,but also an enrichment of Xinjiang’s art theory,a concrete action to summarize the experience of Xinjiang literature and art in the century of the founding of the communist Party,and an indispensable historical text to supplement the history of Chinese art.