A Study On The Landscape Paintings Of Yadan In

In the 20 th century, the expansion of subject matters is a prominent development in Chinese shanshui painting. As the fervor surrounding Xinjiang and Silk Road come along, many realized that the more regional charactistic an art work possesses,the more exciting and valuable it is. The majestic and exoctic yardang is an emblem of the unique landscape in Xinjiang. However, in the art scene of China, even as new concepts emerging in waves, major new schools of art are forming, shanshui paintings depicting yardang of Xinjiang have not achieved the high levels enjoyed by shanshui paintings portraying Huangshang, Huashan and Guilin. Due to the lack of in depth and systematic research in the ideas, analysis and investigation of painting techniques, and the absence of adequate critic and evaluation system of original art works, the growth of the tender bud of art is at a very unsatisfactory slow pace. Many artists in China have created numerous shanshui painting with yardang as subject matter, the most prominent are Chunguang Shu, Wenfang Wang, Zunsheng Zhou and Xuefeng Mao. Based on their strong skills in traditional brush and ink painting and modeling, in addition to the expression of their own emotion about yardang scenery, and their personal aesthetics, combined with new art concepts, they are seeking to utilize all resources and artistic method of expression. Unceasingly exploring and innovating, they have created many art works that not only fully presented the beauty of the geomorphology and geology of yardang, but also established their own unique style in Chinese shanshui painting. In this paper, the brush and ink techniques, aesthetic psychology, innovation and other aspects of the shanshui paintings portraying yardang in Xinjiang are studied, the works and the artistic styles of some prominent artists are analyzed and categorized. The current development of shanshui painting of the exotic landscape of Xinjiang is reviewed, in hope to expand its influence in the art world, and to promote its progress. Through observing yardang scenery in person, reading abundant interviews of artists who paint yardang in Xinjiang, studying shanshui artists who represent yardang in Xinjiang, and the artistic styles in their works, their works are analyzed, organized and categorized. It is pointed out in this paper that overly rely on the traditional Chinese painting techniques and other style or techniques of painting to depict yardang would be counterproductive. Boldly break through the existing framework of the traditional Chinese shanshui painting, personally visit the scenery, sketch from nature, discover, innovate, practice are required. Combine the passion, understandingand perception of the beautiful and sacred land in Xinjiang, in view of the characteristic of the present times, strive to create shuanshui artistic language that belongs one’s own mind at the moment. Through the analyses of the shanshui works representing yardang by Chunguang Shu, Wenfang Wang, Zunsheng Zhou and Xuefeng Mao, their techniques, form of expression and artistic conceptions, this paper explores how depicting the unique landscape painting of yardang in Xinjiang can be embraced as an advantage, in the hope that enthusiasm of landscape paintings portraying yardang is inspired.