The Research Towards The Creation Of Chinese Opera Figure Painting Style In The 20th Century Based On The Works Of Guan Liang,Ma De And Han Yu

Combining opera,painting,calligraphy,seal cutting and other art forms,Chinese Opera painting bestowed itself with obvious interdisciplinary and cross category attributes.Also,it is a relatively unique visual image resource.In the 20 th century,the art of Chinese Opera painting has made great progress with a group of Chinese Opera painters emerged known for their distinctive styles and outstanding achievements.Guan Liang has pioneered the art of Chinese Opera painting,and his is characterized by primitive simplicity and genuine.Ma De took the theme of Kunqu Opera as the object of his Chinese Opera painting creation,and formed a style characterized by clearness,beauty and softness.Han Yu fused literary thoughts and comic interest into his works,it belongs to the style characteristic of childish humor,with its contribution to art theories’ abundance.These three Chinese Opera painters(hereinafter referred to as "three masters of Chinese Opera painting")not only have been labelled with their distinctive styles,but also regarded as representatives of the three generations of Chinese Opera painting in the 20 th century.However,there has been a lack of cross-border and inclusive attention during past researches,it is necessary to explore this area further in depth.On the basis of a more systematic survey of the community of theatre painters in the 20 th century,this thesis provides a more detailed collation of the works of three artists,and a closer reading of their various creative themes.Although they are not a school in the usual sense,and don’t have the same style characteristics,they show the common aesthetic pursuit,that is their works are a synthesis of the traditional Chinese art forms of poetry,calligraphy,painting and printing,with a greater focus on the true nature of opera art,and a greater expansion of the traditional expression of Chinese Figure Painting.Theoretically,this thesis analyses the artistic characteristics of the opera painting of Guan Liang,Ma De and Han Yu.It can be seen that they have formed their own typical opera painting styles on the basis of the aesthetic pursuit of‘The Chinese Opera born from Pen and Ink ’.Such concept implies the existence of relatively wellestablished models in the art of Chinese Opera Figure Painting,which revolves around the stage effects of Chinese Opera,and is realized through the content of the picture,the rhythm of the brush and ink,and the writing of the inscriptions,to create a freehand brushwork image,showing both the "taste of Chinese Opera" and the "taste of painting".This kind of artistic innovation is based on the performance of traditional Chinese artistic synesthesia principles,such as freehand brushwork,wishfulness,and linetype spirit,which are shared by painting and Chinese Opera.If style is an expression of the artistic individuality of the three artists,then the‘The Chinese Opera born from Pen and Ink ’ concept is a demonstration of their artistic commonality,and the dialectical unity of individuality and commonality constitutes the artistic essence of the three artists.The thesis summarizes opera repertoires of the three Chinese Opera painters in the form of a chronological order,conducts an overall inductive analysis of 784 opera works among the three.Also,it conducts a comparative study of their common performances.The thesis attempts to study and research these three schools of Chinese Opera painting as a whole.Based on the analysis of their different styles,it discusses the causes of their Chinese Opera painting styles,including social background,cultural environment,personal encounter,artistic "synesthesia" as well as some other issues.In the meantime,taking into account the expansion of the communication channels of opera,the enrichment of painting themes,and the innovation of expression methods,it highlights the basic characteristics,general trends of the interactive development and evolution of Chinese Opera painting in the 20 th century.The artistic styles of these three artists are of great value to the development and innovation of contemporary Chinese Opera painting,and their significance remains unchanged today.