Information Age Of The Image Culture And Contemporary Chinese Paintings,

With the development of modern technology and information industry, our life is into a visualized time, meanwhile into an image abusing time, in which the form and mode are more and more diverse. Since 1839 when Louis Jacques Mand Daguerre invented daguerreotype, the discussion between "arts should submit to science", and "can arts be a competitor to science" has been never stopped. In 1850s, painters used photos to help them in painting, with the purpose of "reference to photos" rather than "paint the photos". At that time, photos subjected to painting. They were in a principal and subordinate relation. Since the end of 18th century, the painters felt the unprecedented pressure that photography would gradually replace the traditional painting. For that case, the painters began to develop into extremism and individualism in which the photography can hardly substitute it. Since 19th century, due to two disparate attitudes toward culture, one was to strive to elude photography which was supported by modernists, and another one was to positively "borrow" the photography which was sustained by the post-modernists, the road of painting forked into two directions.One direction rose from post-impressionism is called the modernism, including Cubism, Expressionism, Fauvism, and Abstractionism. They sharply demarcated from photography and intended to pursue innovation in the language and form of arts, focusing on learning the professional invention ability from modern science, in order to throw off the aesthetic principles based on "theory of imitation" since ancient Greece, and get rid of the realistically representation as the photography does. They devoted into pursuing of the possibility of arts and its purity. Another direction is going into the complicated and complex post-modernism. In 1960s, post-modernism emerged in response to the proper time and conditions that developed western countries went into "post-industrial society". Post-modernism adopted an open manner to the mass, and publically borrow or even copy the pattern, style and techniques of modernism and pre-modernism, and of course including the photography. At that time artists overthrew the traditions, and gave full license to use photos, for the purpose of deliberately dispel the distinction of painting and photography.The contemporary existence of image and the traditional relations of art are obvious in manifestation in the contemporary Chinese art. In the 1980s, modern painting in China is standing a special historical layer to admit the West modern art and various artistic ideological trends, traditional art, early modernism and contemporary art, whose ideas and styles are inevitably mixed together. Since the 1990s, it seems to begin to clearly recognize the challenge which the drawing faces. The time progress enables us to have the opportunity to contact a more widespread image. The image can be regarded as the drawing, and the drawing regarded as the image. The time creates a group of artists, and enriches the experience all their life, which, by the special drawing form and language, makes them combine the particular time to accomplish new works with certain cultural criticism significance.However, some new post-80 artists in contemporary art, who borrow the image to carry out the creation, have many changes in the social responsibilities with the previous generation, from the view of the creation selection, the creation form and the choice of use of the image. What they pay more attention to is to emphasize the difference of individual feeling and individual experience, and is to express the value which belongs to their generation from the view of their survival condition. The achievement resulted from Multimedia and information spread enables them to have more opportunity to combine the self-image and the images needed in their heart into the drawing, and form their special image and individual symbols. This paper is mainly divided into three parts:the first part respectively discusses the concepts of image and drawing, the change and impact of photography to drawing in 19 century, and the change of development of the present image culture to the visual experience of artists; the second part states and analyzes the influence of image culture to Chinese contemporary on-frame drawing, focuses on analyzing the overthrow and influence of image culture to Chinese contemporary drawing, and further states the influence of image culture to China politics and post-80's drawing in China; the third part analyzes and discusses the use of Chinese artists to images, and points the limitation and foreground of image culture to the development of on-frame drawing. The two latter parts are the important and focused point.This paper, from the view of historical phenomenology, aims to promulgate the trends of two main lines of the Western art, and states the collision and fusion in the different historical periods. And this paper takes the influence of Richter's image artists to the Chinese art as the case study, stresses to analyze the painting since the "85 new tide" of China, to discuss the influence of the image culture to the 90s politics in China, meanwhile this paper makes a clear analyze and theoretical statement according to the fact that some post-80 new artists borrow the image to carry out creation.