A Revelation Of Thought Of Arts

In this paper, the controversy of the 20 century traditional Chinese is the main research subjects of this article. Traditional Chinese painting has undergone three process in the twentieth century from "Question the traditional" to "Change the traditional" to "Miss the traditional", Correspondingly, the "Modernity" in each debate on traditional Chinese painting with the different historical context has a different meaning, experienced four phases :the desire for modernity, the pursuit of modernity, the anxiety of modernity, the recalling of modern . During this period , Chinese and western concepts of conflict and integration, old and new exist struggle against side by side with the traditional Chinese painting, the radical and conservative collisions and constraints, the multi-draw status reflects the ideal model of cultural ecology of Chinese culture . Contest about Traditional Chinese painting from the "Modernity" of these four progressive levels to explore aspects of Chinese painting development of the independence. A variety of different and even opposing ideas and culture are symbiotic concept of keeping each other form a "Hundred schools of thought contend" of the human landscape are an important feature of Chinese painting-style transformation.In this paper, the basic premise of debate on traditional Chinese painting in twentieth century is that reflect the law of debate camp of "East and West","Tradition and Modernity", break the static structure relationship between "Section and the Overall", free our from cultural conservatism and admit the fact that traditional Chinese painting of the "pure" in the development of traditional Chinese painting mean the development of traditional Chinese painting still. This article is focused on the influence of the controversy of the 20th century traditional Chinese painting on the creation of traditional Chinese painting ,Chinese painting of innovative changes in the cultural transformation how did it happen? Have taken place in the style of a fundamental restructuring of what?This paper divided into four chapters, the first chapter on the beginning of the twentieth century Chinese painting of the "Struggle to Improve," because of controversy on the dominant thought in ancient Chinese philosophy of "Qi" of the suspect and began the exploration of scientific realism, Xubeihong and Lingnan School carried out between the traditional and the reality of the inquiry, Linfengmian carried out at between human emotions and art forms all happened in traditional Chinese painting from the classical form to the modern form of the initial conversion. The traditional literati painters Chenshizeng and Jincheng re-awareness the value of the literati painting to open the traditional guardian of the people first, this debate happened to traditional Chinese painting to the entities from the spirit of the idea of change. Second chapter on " The Chinese painting Transformation " on behalf of the 20th century,in the context of the special times, the "Themes first "has been restrict the creation of Chinese painting, but the controversy generated sketching a strategy to painters have taken place in painting from the copy of the initiative to shape the debate change the traditional Chinese painting from the pursuit of artistic personality to the attention of the public life,So the occurrence of classical Chinese paintings from emphasis on liberal style to emphasis on image; The third chapter on the " Debate of Chinese Painting End " on the "New Wave period of 85 Art" . This is a process that traditional Chinese painting from the restricted to the process of breaking the restrictions. the exploratory experiment of the ink experiment to achieve the artistic conception of classical Chinese painting methods constitute a breakthrough. New Literati Painting reflect the cultural strategy of the classical spirit of the act, reflection of traditional Chinese paintings opened up the border further, the debates have taken place in the traditional Chinese paintings from the conception to the spirit of the concept of change. The fourth chapter on the "Water and Ink Are Meaningless " on the end of the twentieth century, this is a conscious process that traditional Chinese ink painting to the guardian of the spirit from the digestion and discusses the creative tendencies of several Chinese painting: the art of purification,visual impact,the concept of symbols, as well as opening up the media, The debate so that the realization of Chinese Painting from the spirit to go beyond the concept of visual. Finally, some concluding remarks of this article discusses the development of Chinese painting least diversified. In this paper, analysis the four of the debate on twentieth century Chinese painting and "String" a chain of style evolution, after the debate to find those who have repeated, with universal, constraints have also affected yesterday and today and tomorrow's creative concept.This paper respect for the history of Chinese painting debate. Insisted on from the history of that theory in the main.debate as to the thinking of Chinese Painting resources , interpret the style evolution of Chinese painting from the four debate on Chinese Painting,interpret the four modern evolutionary logic of the traditional Chinese painting . After the debate go into details about which appeared in Chinese Painting creative painting ideas, as well as the related management, review of debate for the creation of contemporary Chinese paintings to provide the basis for new thinking ,samples the visual angle and the research methods which agree with the history and theory of modem Chinese painting in 2oth century.Frequently it puts forward the academic discussion and amendments to the theories and conclusions of some scholars who concentrated on Chinese modem art history.