| We never gave enough recognition and study to actuality aesthetic of Chinese archaic fresco in past. Through the study of natural, factitious and painting material factor which form actuality aesthetic of archaic fresco , and analyzing of actuality aesthetic of antre, temple and grave fresco , I hope to make a reflection about how to inherit and develop Chinese traditional painting : how should we inherit tradition, which portion should we inherit ? which illumination is actuality aesthetic of archaic fresco to our modern art? And how should we use for reference, develop and adsorb tradition? On the basis of the reflection , we could farther stride forward to start actuality moulding , and make material and skill study extend toward two way : the first way, learning the whole material and skill system of traditional painting which core is foil and mineralogy through actuality moulding , and developing a new series of material and skill system that could fit modern art, changing the situation which material and skillwere simple and pinch in past; I tasted particular aesthetic of archaic fresco--the relation of voidand concrete , flexible and rigidity , loose and close in my study of archaic art, and hope my study could extend to modern art representation , achieve bult joint that between ancientry and modern' The second way, through the practice of renovate and mount Literator's meet in West Garden which was created by Jinyang in the middle of Qing Dynasty, and study of traditional painting carrier (paper, silk , and high qulity paper, silk in history)and actuality of archaic reel painting , progress primary discussion about conserve and repair archaic painting . |
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