The Lu Yanshao "Nature" Talking

In the recent one hundred years, Chinese landscape painting has gone through a very special period. With the mass pouring-in of western modern thoughts, China's traditional arts and culture were confronted with the unprecedented challenges, and "arts revolutionary" and "improved Chinese painting", etc had become the banners held highly by the scholars and artists of that time.... However, the culture phenomena and cultural spirit are multi-layer, and the multi-polar context which developed to now should be also the most reasonable result. In the information age featured by constant changes, and under the trend of "universal harmony", it is so pressing to emphasize on "being traditional" and further understand "tradition", which is also the only means for the modern Chinese landscape painting to avoid "being weak" and even "being not profound", "learning from outside and getting natural essence" has not only been the Chinese artists' "innovation" desire, but also the most practical thoughts guidance and theoretical foundation for a long time. As one of the few artists who inherited the development and success, Lu Yanshao has formed his unique individual style with his relatively pure traditional standpoint, profound "writings" foundation, and his flexible but open psychology. Meanwhile, he also makes demands on himself with the comprehensive qualifications of traditional scholars, and his pursuit of the traditional culture goes with him for his whole life. This thesis tries to make people deeply sense Chinese traditional spirit connotations-the basic attitudes to objects, to himself and to paintings, and also the reflection ways and methods through his traditional experience in feeling nature, such as "learning from outside" and "heart and head knowledge". The thesis also analyzes and senses "learning from outside" as well as the inevitable association with writing forms. While showing "writings should reflect ages", the pursuit of "writing commonness" has become the evitable results of finally making height and grace of his landscape paintings. Through this kind of study, this thesis wishes to pay more attention to the big "tradition" neglected by us in the "innovation" development stage of Chinese landscape paintings. Just as what Mr. Pan Tianshou hopes-"not blindly learning from others and not worshiping foreign things", we should be based on Chinese paintings, and try to prove that Chinese paintings do not only have historical value, but also modern value. We should learn from Lu Yanshao, who tries to base himself on tradition and create innovation means by himself. I finally hope to share with more people engaged in the practical creation of Chinese paintings as a practitioner dealing with Chinese paintings.