Analyzing The Blank In Chunya Zhou's Painting

In the development of contemporary Chinese oil painting, different style, language and schematization often emerged with diversity of personality. Apart form the single language of painting in the past, diversity has become the trend of contemporary Chinese oil painting. More and more painters are aware of forming their own style and language. As you can see form many contemporary paintings, Chinese traditional painting has merged into the quest of artists due to the influence of nationalization and localization.The concept of Blank, which was usually related to Chinese painting and calligraphy, are also frequently appeared in contemporary oil paintings as a new kind of painting language in recent years. Although many researches have been done into the Blank which is an important form of Chinese traditional painting, few reports has been seen with the discussion of its application in the contemporary oil painting.Intended Blank, originated from Chinese traditional painting, is to leave blank spaces without ink. This art form has evolved into the reservation of ideas and expressions, and now affects many areas of art. Traditional Chinese painting and oil painting also share some basic lines in the application of Blank. Due to the lack of thorough and systematic research of Blank in oil painting, the difference of Blank between east and west has been discussed with some new angles in this article. And the appearance of Blank in the works of Zhou Chunya is also mentioned in this paper. The origin of Blank, difference between east and west oil painting and the value of Zhou Chunya's artworks are stated in the view of philosophy and traditional Chinese aesthetics. The intention for this article is to analyze the current application of Blank in contemporary Chinese oil paintings and try to seek out the aesthetic meaning within, with the help of Zhou Chunya's artworks affected by the aesthetic orientation of traditional Chinese culture.