Research On Traditional Chinese Painting Show Form

Showing is a key link in art transportation; it's a crucial step for the system in which art exists and develops, it's also an important way for the creativity of cultural tradition to get accepted and to come to life. Chinese art of painting has a long history, dating back to remote antiquity, the bud of art growing up in Chinese fertile soil, going through thousands of years of development to form a extensive and profound system, standing out among all nationalities by means of its unique characteristic. As a production of human spiritual civilization, Chinese's painting's existence and development are closely connected with its ways of showing. That's to say, as for Chinese painting, it is far from enough for us to pay only attention to the content, themes, etc of paintings. With the development of information exchange and constant improvement of showing, there exists an inevitable cause-and-effect connection between the completion and the showing of works. Ways of showing are of great importance to painting works; even the space environment can be a part of works.In this essay, by deeply analyzing and researching Chinese traditional painting's ways of showing, the writer explores the relationship between Chinese painting, its development and ways of showing, thus putting forward some constructive suggestions for the creation of Chinese paintings nowadays.In the part of introduction, starting with Chinese painting's ways of showing, showing environment and the relationship between showing and Chinese painting, the writer expounds purposes and meanings of this research. She also introduces researching background and conditions, points out problems existing in the research and puts forward the essay's basic train of thought, methods and its theoretical basis.In part one, the writer summarizes and expounds developing threads and train of thought of various traditional ways of showing by tracing back to and sorting out historical origins of Chinese painting's traditional ways of showing.In part two, starting by analyzing and researching appreciation of the beautiful, tools, materials, subject matter, function, creative methods, collecting, appreciating, spiritual and cultural life, etc, the writer expounds the objective reasons for the formation of traditional ways of showing all-sidedly. The writer makes a concrete analysis of the formal and art characteristics of ways of structures, such as traditional hand scroll, screen, central scroll of painting or calligraphy, the covering of a fan, an album of paintings or calligraphy, etc. She also expounds in detail how to show Chinese paintings in these kinds of structures and gives an objective evaluation of various forms of showing.In part three, the writer lays stress on analyzing and researching Chinese painting's ways of showing in modern times. She makes a concrete analysis of how to show Chinese paintings under contemporary circumstances and makes a comparison between contemporary ways of showing and the traditional ones. She also deduces the relationship between ways of showing, the constitution of Chinese paintings and development in pen, ink and language, etc.In the last part of the essay, the writer gives an objective evaluation of inevitable actual limitations of Chinese painting's traditional ways of showing. She points out the necessity for Chinese paintings to absorb and make use of new ways of showing in modern times. She also points out the great meaning of ways of showing to the development of paintings and the importance for painters to lay special stress on ways of showing in their course of creation of paintings nowadays in China.