The Composition And Emotional Expression In Chinese Contemporary Oil Painting

When the influence of the market on the art was gradually strengthened since the mid-1990s of thelast century, the artists has already started looking for the autonomy of the paintings in the art and aestheticvalue, the prosperity of the Chinese art market from2006to2008although providing painting with theprosperity of the surface, but in fact also caused a brief interruption of painting experiments. This showsthat over-reliance on market-orientation and the understanding and in evaluation of contemporary painting,colleges conception and the interest of the market is too close, will cause the vulgarization understanding ofcontemporary painting.In recent years, China’s contemporary artists are becoming gradually soberer, and are no longerconcerned with the economically bountiful and artistic countries with a blind eye. Artists are no longersimply the art of leading international exchanges and market operation, to find the position of Chinesepainting in the international art world, but to try to remodeling the social and political stance of the Chinesepainting, to study the language and methods of painting, and thinking about the capital-to-control andpainting of the painting anti-control of capital proposition. Also explore how to use the developmentlanguage of painting is to pass the national spirit, social and cultural connotations, so as to achieve auniversal understanding. Expand its performance range based on the systematic study of Chinesecontemporary painting rather than blindly cater to the outside world the impression this is an effective wayto contemporary Chinese painting is based on the international art world. Practice professional investigator,painting door humanities as painting, we have a full sense of responsibility and understanding of thedisciplines established theoretical basis, to the right to find a bridge between painting and humanist ideals.It is exactly because the Renaissance sages’ emphasis on traditional rhetoric, mathematics andgeometry, that the basis of the "math" perspective for painting is built, which carry the composition of thecultural and social connotations fundamentally rational and social foundations superstructure to theaccomplishment and personality of the artist as a humanities complete art of painting. No matter howpainting develops, how fresh the Forms are, part of the formal structure of the works has always beendominated by the composition factors and the perspective law. Contemporary Painting is a new phase ofexploration, with the need for comprehensive and detailed understanding of the basic law of the screen configuration and to be flexible and accurate. So they are not to become the false proposition the art ofinnovation for innovation, the work will be a river without water. Clarification and re-development of theart of our new generation of contemporary painting practice explore an important role in guiding the basictheoretical concepts of painting.In this paper, the analysis of the historical data of the background of the development of Chinesecontemporary painting, artist representation, as well as Western influence, of the screen in the form of thework and the artist’s emotional expression of three support points, the status quo of contemporary Chinesepainting was also historically explored. An attempt was made to clarify the basis of the theoreticalframework of contemporary Chinese painting and works of interpretation and analysis of the painting as atraditional humanities in the context of contemporary Chinese art, its theoretical basis-perspective andcomposition methods in a new era of development and change, in the multimedia era, the Chinesecontemporary painting has visual performance and emotional interpretation of a new exploration. Theoutline of the context of the development of contemporary Chinese oil painting, cultural and social basis ofthe composition of the painting as the art of painting common content which have combined the artist’spersonal art practice contains a comprehensive analysis of the forms of creative language, their background,personal emotional experience and the creation of horizontal contact are all placed in the context of thehistory of painting in order to form longitudinal historical clues.