The Traditional Aesthetic Value In Chinese Oil-painting

The issue of the localization of Chinese oil-painting has experienced a bumpy road. Now it has gained many achievements after continuous efforts of several generations of artists. They accumulated much experience from exploring and practicing, and pointed out the way towards the development of the location of Chinese oil-painting which was to look for available value from Chinese traditional culture. It demanded to bring Chinese culture and aesthetic features into oil-painting creation, which made Chinese oil-painting own Chinese special aesthetic factors both in spirit and content.Chinese traditional aesthetics was influenced by Confucian and Taoist as well as Zen philosophy, in which Taoist philosophy suffered the most profound influence. This paper was based on the viewpoints of"Tao","Chi","Manifestation"proposed by Lao-tse. Then it found out the traditional aesthetic elements which were suited to oil-painting creation and tried to discuss their combination. This viewpoint of Lao-tse was interrelated universe occurs theory. Chi is the prototype of Tao. Both Chi and Tao can be traced back to the idea of Manifestation. According to this view, the traditional aesthetics elements like"nature","flavor","imagery"manifested in the development process of the localization of Chinese oil-painting.The first chapter of this paper made the simple narration to the bumpy road of the localization of Chinese oil-painting, and expounded the importance of the return of the traditional culture. The second chapter listed the aesthetics elements in the big framework, which is"nature","flavor","vacant space","spiritual expression", and described them briefly. These displayed Taoist true ideas to nature. It made"Chi"as the root of everything and underdrew their concepts as well as their impact and peculiarity as Chinese traditional elements in Chinese painting. At last, it underdrew the essential feature and internal spirit feature of Chinese spiritual expression. The third chapter was the core part of this paper. It was based on the Taoist view of"image outside image"and Chinese scholars who advocated the image. Making"spiritual expression"as the main painting means, it applied all these aesthetic elements to pictures. It took example by Chinese traditional arts and the western to achieve the combination. At the same time, it gave full play to canvas material properties and made them form reasonably. It avoided imitation and surface to enable Chinese oil-painting to step into higher spiritual level.