Research Of Contemporary And Local Landscape Painter In The Context Of Guilin's Landscape Culture

Guilin landscape has a unique natural style with clear mountain,clean water,odd hole and beautiful stone.The cultural connotation of the landscape is not only the same as the Central Plains culture,but also under the influence of the Baiyue culture and the culture of the South Guangdong.In this natural and cultural background,many of the different educational backgrounds and experiences of Chinese landscape painters are creating a large number of wonderful works about Guilin landscape,which has writen an important chapter for Chinese painting.In the history of the development of Chinese painting theory,Xie He related classical art rules to the practice of specific calligraphy and painting.In the book of Ancient paintings Recorded,he proposed "six law" as programmatic art theory.To Five Dynasties and Ten Kingdoms period,the painter Jing Hao,in the article of Notes on Brush-work,put forward "six essentials",which developed Xie He's means of painting into two content of "the use of brush"and "the use of ink".In the Tang Dynasty,landscape painting has formed two styles of green and ink.Jing Hao's contribution is to put forward the concept of "the use of brush and ink",which made landscape painting have an important breakthrough;and "thinking" and "landscape" were involved in the relationship of "style" and "nature" of an artist,as the extension of "study the nature outside and gain the inner source".This is an important painting achievements.Since then,the history of the development of Chinese landscape painting was always about it.Under the Guilin landscape culture background,Guilin landscape painter is adhering to the Chinese classical law,and at the same time,they believe "words work should be along with time".Through the creation of a large number of works of art,they hava a new understanding of"thinking" and "Landscape".Based on the background of Guilin landscape culture,this paper studies the creation of representative landscape painters in Guilin,and explores the development of landscape painting as the traditional Chinese painting in Guilin landscape culture.The first section of the first chapter defines the relevant concepts about Guilin landscape culture,and from four aspects of academic,religion,literary and contemporary Guilin landscape culture research to sort out relevant theoretical theory.The second section emphasizes that Guilin landscape culture has a dicert relationship with the Central Plains culture,and takes exempls.Then summaries characteristics of Guilin landscape culture:harmony,original,similar and so on.Finally puts forward the analysis of the biased understanding of Guilin culture.The second chapter and the third chapter analyze the creative practice of Chinese landscape painters in contemporary Guilin area who are all under the background of Guilin landscape culture.These two chapters choose Bai Xiaojun and Zhang Fuxing as research objects to study.In the third chapter,the paper uses Chinese classical aesthetics to analyze the significant aesthetic thoughts of the them.The third chapter analyzes the relationship between tradition and innovation,sketch and creation with their works of art.From the two chapters,the relationship between Guilin landscape culture and landscape painting is defined.The fourth chapter enlarges the horizon,looking at the contemporary landscape painting of Guilin with the angle of the national ink painting,and analyzes its status,significance and responsibility,so as to inspire the education,creation and criticism in the field of Chinese landscape painting.