The Research Of Contemporary Northwest Landscape Painting In The Form Of Expression

If the northwest landscape painting is researched, we should firstly trace back to its source------the nothern landscape painting.The "north and South" theory by Dong Qichang, which put forward two kinds of different painting styles and aesthetic standard. He adores the "south" and debases the "north" that the landscape painting lines are hard and lack of lingering charm. However, it is undeniable that the advantages of northern landscape painting are majestic, vigorous, and can give a noble and magnificent sense.Jing Hao, the late Tang and Five Dynasties painter, once lived in Taihang Mountain. And he is the founder of the northern landscape painting. Later, Guan Tong, Li Chenghe and Fan Kuan were called "the three famous artists of northern landscape painting". The geographical environment can directly affect the artist’s mental state. The three artists either lived in Chang’an for a long-term, or their hometowns were belong to Shan’xi province. Therefore, in their works, the artistic images are not only a special kind of Guan Shan regional feature, but also the pictures convey the specific spirit of big-heart and open-mind in north. After the inspiration and inheritance of artistic atmosphere, the "Changan painting genre" began with a bang in the Chinese painting world in the middle of the last century.The China painting, especially the landscape paintings, are always changing. This kind of change is inherited, and it has absorption and creation. So for as the expressive form singy, it is a process of converting the abstract thinking into specific visual image. Its inner spirits reflect in the scheme, ink stick, color and artistic conception.One hand extends to the tradition, another hand stretches to the life. This is the "Chang’an painting genre" that has consistently adhered to the ideas. It pioneered a new form to express the Loess Plateau, and then formed the northwest style. Zhao Wangyun, Shi Lu, He Haixia and so on, are the core of this group. As for the form of impression, Shi Lu constructs the charm of his later art in a vigorous, rugged brushwork, mysterious, and romantic artistic conception; Zhao Wangyun has an artistic conception of grief and deep by changing his past bright and airy style; He Haixia is based on the Chinese tradition and self-innovation, and cast a large landscape in ink and color, gold and green.The "Chang’an painting genre" is bold in innovation and this tradition has never been interrupted. It has the individual beauty in northwest folk, and provides the space of contemporary landscape painters broad to express. They takes continuous exploration and innovation through the perspective of self-aesthetics, to strive their own style and spirit and to create a large number of different forms of works. The painter Zhao Zhenchuan’works are the coexistence of dark and intelligence; Luo Ping’works show the plane composition and decoration. Jiang Zhixin’ s paintings present dark ink and large freehand brushwork. Zhou Zunsheng’s "beauty of red" and Guo Wentao’ works are desolate but forceful. Each painter has its own performance style.Through the experience of producing thenorthwest landscape painting, the author attempts to make innovation and have a further understanding on how to form a more contemporary aesthetic feature.In the Chinese landscape painting, the northwest influence is limited, but its spirit and qualities of forceful are not overwhelmed. And it makes virility and big-heart as a constant theme to seek Chinese contemporary art.There is no doubt that the western landscape painting still faces difficulties. Therefor, it asks us explore and seek diligently to promote a more mature and perfect development.