Chinese Spiritual Impact On Localization Of Chinese Contemporary Expressionism Oil Painting

In present China, it is a quite common phenomenon that oil painting takes in mixes with the Chinese tradition spirit and resource of art. Zhou Chunya, Ge Zhen, Wang Yuping and some other painters have begun to fuse within expressionism oil painting the style and the concept of freehand brushwork in traditional Chinese painting. They draw in and make full use of the style of freehand brushwork in many different ways, fusing it within the western expressionism and making a new style of oil painting with both the feature of expressionism and the style of freehand brushwork. This helps to boost the localization of the expressionism oil painting. Their successful experience is testified—it is one of the approaches of the localization of Chinese present expressionist oil painting. The localization of the present Chinese expressionist oil painting is not accidental. Lin Fengmian has long brought forward the idea of the unification of Chinese and Western art. He points out that Chinese oil painting has to learn from its own traditional art and paintings in order to go beyond the influence of the west and develop a particular kind of oil painting with its own characters and tastes. Judging from development of the history of human art and of the art itself, the localization of Chinese oil painting and the absorption of the style of freehand brushwork in the present Chinese expressionist oil painting is a kind of self-consciousness of art, an awareness of localism and Chinese spirit of art, and it is also an inheritance, an innovation and a development to the Chinese spirit of art and Chinese "culture pulse ".This article mainly makes its analysis and discussion from the following three aspects. Firstly, it defines the connotation of the style of freehand brushwork and expressionism and then expounds the consistency in their connotation and concept between the two as well as the underlying complementarity of the former to the latter. Since they belong to two different fields of art, it is necessary to make clear the connection between the two and there is the possible existence of confluence of the two. This sets up the logical and theoretical basis for the discussion of the impact of the style of freehand brushwork over Chinese present expressionist oil painting. Secondly, it discusses the impact of the style of freehand brushwork over Chinese present expressionist oil painting. As to expressionist oil painting, this article mainly takes Zhou Chunya, Ge Zhen, Wang Yuping as example; and as to behavior oil painting, we take Wu Guanzhong, Hong Lingwei as example to analyze how they take the connotation and concept of the style of freehand brushwork into the expressionist oil painting and behavior oil painting and accordingly accelerate the localization of Chinese present expressionist oil painting. Thirdly, by summarizing the former two chapters, we put forward our own idea that the absorption and confluence of the style of freehand brushwork is one of the necessary approaches to the way of localization. We think that from the point of view of the development of art history, the absorption and confluence of the style of freehand brushwork is an inevitable choice of Chinese present oil painting when developed to a certain stage, a kind of self-consciousness of art, and a development to the Chinese spirit of art and Chinese "culture pulse ". Finally, the article points out that works of painters such as Zhou Chunya, Wu Guanzhong have successfully fused into oil painting the Chinese spirit of art and beauty-appreciation consciousness, which has pushed forward the history of drawing and has made people reconsider the vitality of Chinese tradition art.Research into the impact of the style of freehand brushwork over Chinese present expressionism oil painting makes clear the important effect and significance that Chinese tradition art has on localization of Chinese present expressionism oil painting. At a time when art is keen to pursue new ideas and follow the tide of the west, the attention paid to Chinese traditional spirit of art and resources of art has provided artists new inspiration and made them return to the art itself a second time, concerning again the creation and development of the style and language of art and caring the development and innovation of Chinese traditional spirit of art in present China. In addition, the expressionist oil paintings fused with Chinese traditional spirit of art show a new aesthetics characteristic and an optic aesthetic feeling, which diminishes the negative factors and at same time make full use of the advantages of the two, which is full of passion and strength, and simultaneously very implicit and tender in style. This aesthetic quality with the advantages of both the east and the west should bring about some new thinking and exploration in the academic circles.