Research On The Grass-Root Narrative Of Chinese Oil Painting(1980-2012)

Excellent literary and artistic works are often good at asking questions about reality,which is the medium for literary and artists to convey their attitudes directly to social entities.From 1980 to 2012,the “Grass-root” issue,which has caused widespread discussion and application in sociology and literature,has been presented in oil paintings in a different way,and has become a relatively obvious artistic phenomenon.However,the discussion on this issue in the art circle is not yet sufficient.This dissertation analyzes the theme presentation,formal language,narrative mode,aesthetic rhetoric characteristics and deep ideals of the grass-root narrative oil paintings through the research methods of art sociology,stylistics,iconography,and philology.It discusses how Chinese oil paintings in the past 32 years carry out narrative according to the grass-root issue.This dissertation studies from the surface to the inside,which consisting of five parts in a progressive manner: the first part reviews the background of the appearance of the grass-root narrative in Chinese oil painting.Under the guidance of the concept of “people’s literature and art”,the image of the oppressed in the old society was shown in oil painting in the early days of the founding of New China.But the truly conscious grass-root narrative of oil paintings began with the art trend since the 1980s.The new changes in the social and cultural context stimulated the humanistic feelings and grass-root imagination of oil painter in the 1980s.The second part reproduces the theme presentation of the grass-root narrative of Chinese oil painting.“grass-root” and “narrative” have led Chinese oil painters since the 1980s to take“grass-root people” and “grass-root thing” as the narrative theme of their works.The peasants who still stay on the land in the new era,the migrant workers who go to the city like“migratory birds” and experience the awkward status,the miners who do the hardest work and the laid-off workers who suffer from the uncertainty of fate,constitute the most expressive“grass-root faces”.The expression of the grass-root in the “daily” and “events”is also shown by the oil painter on the canvas as a “critical moment”of a universal state of life.The third part analyzes the formal language of the grass-root narrative in Chinese oil painting.The grass-root narrative of Chinese oil painting has made significant achievements in terms of perspective selection,screen lighting,color configuration,and the choice of painting.It not only breaks the principle of singularity in academic realism realistic painting,but also breaks the inherent principles of painting modeling in the West,achieving the development of diversified exploration of forms.The fourth part discusses the discourse mode of the grass-root narrative in Chinese oil painting.The discourse mode is supported by discourse types and aesthetic rhetorical methods,and is a strategic choice to connect oil painting themes and formal language.The discourse mode of the grass-root narrative in Chinese oil painting is not just limited to the language of images,but rather a divergent synthesis of language and methods from literature,linguistics,sociology,and even film and television studies,integrated into image narrative,reflecting the strong inclusiveness and openness of contemporary image narrative.The fifth part delves into the value background of the grass-root narrative of Chinese oil painting.A representative oil painting work with the grass-root as the theme conveys a mixed perspective on social change and the fate of some people who are being held hostage.These era pictures may become the image historical materials about the survival of marginal groups in the process of Chinese path to modernization,and become an indelible part of the new Chinese art history.According to the research,the grass-root narrative of Chinese oil painting reproduces a true and complex grass-root social landscape through the diachronic presentation of the theme;It promotes the development of the modernity process of New China’s art through the return of the artist’s subjectivity.It constructs localized images in the perspective of cultural exchange between China and the West through exploration of formal language.It has re-established the power of painting in the era of images through the pursuit of social and aesthetic values.In short,the grass-root narrative of contemporary Chinese oil painting coexists with traditional image narrative and contemporary conceptual narrative.It fully demonstrates the diversity and conceptual foresight of contemporary Chinese oil painting’s narrative techniques in terms of narrative conception,language structure,and image techniques.