Tradition And Huang Zhou

It is inevitable for human beings to be constrained by certain specific thought during their process of acquiring knowledge, thus to certain degree, the "noise" of knowledge and its interference are prone to exist. Furthermore, people always spend plenty of energy on events or issues which have happened or have impressive influences. Whereas, as to those existing events without producing significant influences, are usually being despised or ignored by people. There is such problem for the study of Huang Zhou’s arts, wherein all of Huang Zhou’s artistic achievements were attributed to his sketching practice, while his efforts made in the connoisseur and simulating ancient works are somewhat neglected. The realism developed from the trend of learning western in the20th century has been taken as the theme of arts, which are being simplified, assimilated, exaggerated and deliberately improved constantly.This thesis intends to strip out a relatively realistic path for Huang Zhou’s arts creation from Huang Zhou’deified arts researches as the ideological integration is declining. The author attempts to analyze Huang Zhou’connoisseur behavior and illustrate a number of his neglected simulating works through studying his paintings, postscripts to paintings and calligraphy, answers to reporters’questions and letters for the purpose of discriminating Huang Zhou’s relationship with tradition ultimately. Apart from putting Huang Zhou’s artistic works in the vision of the20th century, here it is escalated to the discussion of tradition and innovation of arts creation. Through the study of Huang Zhou’arts case, there are two key questions to be resolved:first of all, each person’s knowledge is inevitably limited and narrow under the background of sharing culture with specific groups; secondly, learn from tradition, which is to retrospect the past in the perspective of now, and the effective innovation is generated like that as well.