The Shanhai New By

This paper aims to explore the means of Chinese Bestiary , and the effect on me by the Woodcut illustrations in Qing Dynasty and Ming dynasty' s Chinese Bestiary , and the characteristic of my creation , the Painting of the woodcut—.First, I coembines the times of we live with Chinese contemporary art and Woodcut itself to analyze why talk about . Second , I tried to research what is on the basis of the female writer ,Ma Changyi from Shandong province. Then get a general idea of ' s pictures, and analyze the art characteristic of Qing Dynasty and Ming dynasty' s . Finally, I analyze my graduating creation— through tools, knife methods, graphic, composition, colors, papers, mounting, reading methods . At the part of the conclusions , I talk about my idea of into the concept of Chinese Neo-Literati Aesthetics .Because in the article of 2006 Shanghai Fine Arts Museum literature exhibition, Lu Rongzhi said, "This path of eclecticism does not testify to the pure-blooded cultural lineage of the Chinese people, nor is it a form of opposition or revolutionary identity. Importantly, it gets rid of the focus of the Chinese contemporary art of last century on responding to the unique phenomena of 20th-century Chinese politics and culture. The new century' s Chinese neo-literati, heterogeneous aesthetics breaks with traditional presumptions regarding Chinese literati art; not only is it an embodiment of the vertical synthesis of China' s 5000 years of cultural history into a neo-aesthetics, but also it is an interbreeding of global civilizations, which was produced through the lateral penetration of this environment of limitless information-exchange. Artists from all over the world have entered China. The new spiritual aesthetics of these collected Chinese positions are no longer just a superficial Political Pop totem or that which the simple symbols of foreign countries' fascination with exoticism are able to bear and express. " It is my creation that in this system of Chinese Neo-Literati Aesthetics.