On Sanyu’s Painting Achievements And Market Myth

Sanyu, who had studied abroad in Japan and Paris in the early20th century, is a member of the School of Paris with Chinese nationality and one of the modern artists enjoying a favorable reputation worldwide. As the founder and pioneer of the modern painting in China, his innovation of art style and art practices hold a position which is not to be neglected in the history of Chinese modern and contemporary painting. In the integration of the Chinese and western art, he expressed the interests of paintings with the conception of Chinese literator and infused the modern poetic language into the School of Paris, providing a gleaming example for the Chinese and foreign research and creation of art. Compared with Xu Beihong and Lin Fengmian, who studied in France at the same time, Sangyu was once neglected and forgotten in the art history and art market. With the burgeoning auction surge of artistic works in the recent years, the myths of Chinese oil painting has been created. The reason why his works of art always becomes the focus of the collectors in Hong Kong, Tai Wan and international auctions can be explained with the ultimate meaning found in his artistic achievements.This research systematically elaborates Sangyu’s artistic view and achievements from multidimensional perspectives, including sociology, culturology, market economics and aesthetics, with comprehensive appliance of bibliography research, comparative theory research and iconography research. The research combs and demonstrates the formation process and theoretical value of Chang Yu Style from the two aspects of text research and the corresponding analysis of the works. The paper begins with interpreting the humanistic background on which Sanyu Style originated and formed, including the cultural reform in the early20th century and Chinese paintings’ evolution and development during the integration on the Chinese and western art. Secondly, this research expounds deeply about the causes of the formation of Sangyu’s view on art and the cultural meaning reserved in his works by the systematic study on Sangyu’s artistic practices and exploration in different times and the communication and collision of artistic thoughts between Sangyu and the masters of the same period. Then the paper analyses the inheritance, evolution and improvement of his artistic view in his earlier and later period and how it finally formed Yu Sang style through the integration and transformation with the study of his works of art created in different time and the comparison of the relative different features expressed in accordance with the development of his art, like his literary style of painting with oriental charm, the adaption of expressionism and symbolism in his work and the infusion of the painting elements of the Chinese and oriental art. Finally, the research reveals the inevitability of the market myths of his works and his positionin the art history with extensive proofs. The impact of his work on the painting world in Paris and the development of the modern art in China enriched and extended the context and the boundaries of the modernity in Chinese art, having explored a path of modern art in China or in the oriental. In this time of the booming development of art market, promoting the experience of collecting and enjoying art, going deep down to the spiritual world of the artists, exploring the secrets of art lives, the art orientation conforming with art laws and the genuine connotation and spirit, deepening our feelings of appreciation the art works, will provide the people who care the modern and contemporary art and artists in China with cognitive function.