The Achievement And Eclecticism Of Modern Chinese Painting

In the early 20th century, the different degree of civilization between China and Japan led to our national power gradually shaded in the modern times, thus adding some "Japanese elements" to the Chinese painting clubs which were known for the national features. Based on this background, by centering on the relationship between the traditional school of painting in Beijing, Lingnan painting school in Guangdong and Japan, this text aims to reveal the influence which the invasion of western culture made on Chinese painting development. Some aspects like regional culture, community culture, Sino-Japanese relationship and Chinese-western relationship will be discussed in the text. This thesis will make an explanation based on the "conservation" and "eclecticism" of modern Chinese painting, aiming to present the trend of "modernism" and "anti-modernism" which appeared in the process of China development and providing some references for the development of Chinese painting in the future.There are four chapters in this thesis. The reasons for the appearance of "Japanese elements" in modern Chinese painting communities will be generalized in the first chapter, which includes the following parts:cultural transmission through Chinese students staying in Japan, communications among masters in painting between China and Japan, collection of painting, historical records of Chinese painting in modern Japan, the theory of painting, overall arrangements of East-Asian cultural policy launched by Japan. As China and Japan were faced with conservative and eclectic options, they could keep such frequent contacts. In the second chapter, it deals with the communications between artist groups led by Jincheng, Chen Shizeng, Zhou Zhaoxiang of the early republic of China and Japan. It analyzes the foundation of Chinese Painting Research Association, Sino-Japanese joint painting exhibition, Japanese painting and artists in Lake Club magazine, the discussion between Chen Shizeng and Omura seigai in terms of painting of man-of-letters and the general cognition and evaluation of traditionalism painters towards modern Japanese painting. Thus this part can make a quotation that this kind of painting school attempts to develop national culture by implementing diplomatic mode of importing foreign investment, which indicates that they still keep some cultural conservatism in the trend of times. The third chapter mainly talks about the relationship between the core group of Guangdong Lingnan painting school which led by Gao Jianfu, Gao Qifeng, Chen Shuren and Japan. It centers on the "Japanese mode" and "three main characters" in the school of Lingnan painting, the competition between new and old style in Guangdong national painting, "anti-Japanization" proposed by Gao Jianfu, attempting to reveal the influence made by eclecticism on the development of Chinese painting. In the chapter 4, there will be an elucidation about cultural conversation and eclecticism which reflected in modern Sino-Japanese painting exchanges. Following the trend of "modernism" and "anti-modernism" in the field of culture, this part talks about the cultural superior complex of conservation, the innovation and contradiction of eclecticism as well as the modern relevance (also named as cultural strategy) of the two kinds of schools. Thus, it comes to conclude the selection of prosperity of Chinese painting in the process of modern transformation.