Keeping Watch On Painting From Life Or Nature

In the development of Sino-western paintings, all has benefited from natural drawings, no matter whether they are traditional repr esentation-focused western paintings, or image-focused oriental ones. Natural paintings have played an important role in the artistic teaching of China. However, people have come to change their views on art as a result of the dramatic development of science and technology and the multidimension of cultural thoughts ever since the 20th century. How to look at the natural paintings is an urgent issue to solve in the present artistic creation and educational reforms. This thesis attempts to explore the value of natural paintings in artistic creation and teaching and reflect on some phenomena in the teaching of natural paintings of modern colleges from the angle of the rules of the visual art and vision-sensory psychology under the current modern artistic background (context).This thesis consists of four chapters.Chapter 1 is an introduction, in which the necessity of writing this thesis and the author's attitudes towards natural paintings were presented through analyzing the contexts in traditional and modern paintings and the difficulties faced by the new context in natural paintings and its teaching. In the understanding of modern artistic context, the author intended to reveal the paradox of formal evolution in the modem art caused by linear thinking and rebut the outmoded ideas on natural paintings from the point of the awareness of thought. Furthermore, taking the nature of modernism as the starting point, the author defined the modern artistic context as the context of artistic multidimension in which a broader context was practically provided for natural paintings. Meanwhile, realizing the contradictions arising from the simple understanding of the value of natural paintings and the simple teaching patterns and its simple standards for evaluation under the present multidimensional context in China, the author also proposed a fresh understanding and a redefinition of the context.Chapter 2 showed the interdependence of the classical and modern schools of art on natural paintings by exploring the value of natural paintings in the artistic creation and the formation of artistic styles from the perspective of the structure of artistic creation. In addition, having fully understanding the relationship between natural paintings and creation, the author defined natural paintings as a way of dialogue towards Nature and thus clears off its dead-end situation in modem artistic context.Chapter 3 mainly expounded the view that the meaning of keeping onwith natural paintings lied not in obtaining skills, but in sticking to the true quality of the drawings. Besides, the author also dealed with the understanding of true quality of the drawings.In Chapter 4, having reflected on the puzzlement in the present basic education caused by old-fashioned views, the author attempted to understand the general significance of natural paintings in the artistic education from the angle of the visual thought, with the hope of finding out a way in which the basic education of art and the development of creative thinking are well combined.In the author's opinion, based on the renewed conception, sticking to natural paintings is not sticking to the fogyism, but to the hope that our natural painting and its teaching will keep young and fresh in inheriting and innovating the tradition.