On The Inheritance And Development Of Chinese Painting's Material Techniques

The pattern of Contemporary Chinese art has been no longer occupied by the four types: the Country painting, Printmaking, Canvas and Sculpture, but the Easel painting is still mainstream of Chinese art. In the field of Easel Painting, Chinese painting is still a very important painting currently. Surveying the evolution of materials and techniques of Chinese painting since the eighties, it is mixed with joy and sadness. On the one hand, the artists are passionate for the study and experiment about the painting materials, so that it makes the work become brand new and re-ignite the public's confidence that lost long time ago; on the other hand, when trying to combine traditional painting materials and new chemical materials, many artists disregard the general rule whether the they are intimate or exclusive between the substances, and just tangle the unrelated materials toughly, so that the picture plane is rough and bleak, and not easily preserved.The definition of "Chinese painting" covered in this thesis is a relatively a broad one. The author believes that the heritance and extension of all traditional materials techniques should belong to the domain of Chinese Painting as long as without leaving the media materials. The first chapter of this thesis turns around the main line the rock painting-minerals and plant-color - the emergence and rise of the ink- the fault during the Cultural Revolution - the 85 ink art innovative ideas in the bud to deal with the development process of Chinese painting in detail. The second chapter talks about the heritance and rebellion about language of traditional materials; the former is mainly on the case of Gu Wenda and Yang Jicang, the later concerns about the two ways of heritance. One is re-understanding towards traditional materials by returning to and drawing on traditional techniques, or some special techniques to integrate into the pen and ink techniques and do not change the performance of traditional Chinese painting program, the other is the meaning of Chinese painting material in their own lineage of knowledge conversion and extension.It summarizes and interprets the heritance and reforms of Chinese painting materials in the collision of tradition and vanguard. The third chapter proves the varieties of possibilities of contemporary conversion about Chinese painting materials by deeply analyzing the three artists, Hu Wei, Yao Hai and Xun Lei. For the characteristics of various subjects "Infiltration, integration", it deals with the he aesthetic significance of materials techniques by using a typical post-modern cultural vocabulary.In methodology, it takes both the rigorousness of rational analysis and interpretation of the artist's case into consideration. It tries to offer some help for the development of Chinese painting by combing through the development of painting materials.