Research On Figure Paintings Of Ren Bonian

After the Opium War, China suffered from the invasions of imperialist countries and became a semi-colony and semi-feudal country, which brought many changes on politics, economy and cultures. At the end of Qing dynasty, Shanghai grew up rapidly and caused the epoch-making transition in lots of fields, of which was the influences on the Chinese painting history.Being one of the very initiators of Painting of Shanghai School, Ren Bonian was well versed in the painting of figures, landscape and flowers and birds, especially in figures. As the outstanding master in the figure painting field, he had the characteristics of distilling and absorbing all the favorable elements, hearing the opinions from REN Xiong and REN Xun, mixing the ideas of folk paintings and etc. He was named as the First Person of Chinese Painters by Xu Beihong, because he broke up the traditional style of dwelling only on the stereotype and left behind abundance masterpieces for us all.Based on the volumes of historical data, this research introduced his life and analyzed his painting skeleton. At the aim of research on the characteristics of innovations in his painting arts and providing impelling references for the later generations, his paintings, the cause of his painting style and etc were involved in this thesis.By dint of the fruits and methods of aesthetics, cognitions, psychology, sociology and other fields, this research, from the angle of distinguishing the real and the bogus, got the results of the unique characteristic of his painting and the influences he impelled on the later generations and concluded that in the near Chinese painting history, Ren Bonian is one of the greatest representative painters of Painting of Shanghai School. He inherits the former and indicates the latter. He followed the former excellence tradition and possessed the true-life ingredients of west arts. He started the new style and features of figure painting. To sum up, for him, it could be said that innovations deriving from the former and changes from the abroad. By this token, his paintings could be considered as the coordinates of span transition from the Chinese traditional figure painting to the modern.