| In the end of19th century and the beginning of20th century, China’s regime has changed a lot, which was called by Chen Yique unprecedented changed since three thousand years, during which China has seen an important phrase from traditional society to modern society in the social turmoil in the field of politics, economy, culture, etc. as an important part of China’s traditional culture, Chinese painting experienced tough transformation in such transformation trend, in which many groups in different fields and painters were actively engaged into such transformation trend. However, a batch of painters appeared in the trend of "Learning from West", and they stuck to Chinese painting tradition, and sought for the modern transformation from the inner element of Chinese painting, one of which is Chen Yuan-du (1902-1967) that was devoted into such a trend, and he was an important traditional painters in the first half of20th century in Beijing.Chen studied painting from famous painter Jin Cheng, and participated in launching "Hu She Hua Hui", one of important painting association in the northern China; he focused on paintings in Song and Yuan dynasty, and emphasized on mastering of pens and ink.Chen took China-oriented transformation of Christian painting with China’s traditional painting during his teaching in Furen University in Beijing, and influences in a way. He, with other famous painters in Beijing, such as Liu Lingcang, Yu Feian, Ma Jin, Wang Xuetao, etc. contributed a greatly to the innovation and development of China’s traditional painting in20th century.The paper includes five chapters as follows:Chapter one is about the introduction about the significance and value of Chen’s artistic creation in accordance with the existing historical data; Chapter two is to dig out the condition and necessity of generation of his artistic thought through the understanding of Chen’s artistic experience and contemporary surroundings; in Chapter three, the author attempts to discuss the characteristics and contribution of Chen’s traditional painting through the analysis on his painting theme and style characteristics, which is the research focus; Chapter four is to research on Chen’s special artistic experience, that is, his Christian art, which is also the focus in the paper. It belongs to the research scope of its painting style, however, the independent research condition has been possessed for such a part from the perspective of existing materials, research significance, etc. therefore, a specific elaboration has been taken separately; in Chapter five, a conclusion has been taken through the previous research.The author claims that Chen took in several western factors to develop the native art in a way, which is based on the existing tradition and appreciation way from China’s painting. In the process of cultural collision, he highlighted the value of native culture and combine the exotic culture factors, and sought for the evolution and development of Chinese painting and even Chinese culture with a moderate and gradual advance. Chen’s claim on art is of great significance to re-understand China’s traditional culture amid the modern world cultural communication. It has proved that as one important creation community in the localization process of China’s Christian art, painters such as Chen Yuan-du are not only the successor of the Christian art transitional period of Ming and Qing dynasty, but also the forerunners of Chinese modern Christian art creation, both of which will be significant for the research on the communication between Eastern and Western culture in the modern times. |
