Chinese Oil Painting Under The Influence Of Traditional Painting

The thesis, starting with the theory of traditional painting, makes an analysis of the major influence of traditional Chinese painting on the most typical Chinese oil painting in different stages of evolution ever since it was introduce to China nearly one hundred years ago. Actually traditional Chinese painting had three aspects of influence on the first generation of oil painters and Chinese realism oil creation as well as the third generation of oil painters.The text, also gives a glance at the current situation of oil painting development in China on the basis of major national-scale exhibitions characteristic of traditional Chinese painting in the recent years, making an in-depth investigation of how traditional Chinese painting has been influencing on Chinese oil painting in a different way form ever before as below. New generations of oil painters, rather than focusing on expanding form languages of their own creation by means of passively imitating and reshaping the ethnic art or simply generating some abstract ideas, have started to place an emphasis on expressing themselves and respecting their own inner truth. With the help of the traditionally-established spirit and aesthetic criteria, a new round of potential techniques are being reproduced gradually with an effort of an all-round exploration of the ethnic essence and the ever-lasting heritage including the spiritual quality and form techniques from a particular perspective of the personal identification and self-perfection.In the view of this, it is argued that Chinese oil painting, rather than imitating directly the superficial techniques and formulate styles, should strive to absorb actively the ethnic artistic tradition, taking advantage of thousands of years of cultural accumulation with an effort of grasping the spirit of traditional Chinese painting and exploring the spiritual genes in traditional culture on the condition that oil painting is baste on its advantageous characters and typical form languages. In light of this, ethnic aesthetic conceptions and expressions would probably help to enrich and expand the languages of oil painting, making them more up to the aesthetic criteria and appreciative physiology of Chinese viewers. Therefore, the future of Chinese oil painting, rather than stressing nationalization with partiality for narrow-minded development, depends on taking in the most proficient artistic genes from all different directions for the purpose of diversified self-perfection and the universal spiritual elevation.