Research On Image Languages Of Mo Ye’s Paintings

From the end of the 1980s to the early 1990s,MO Ye started to show up prominently in the China’s oil painting industry.At that time,most of her works were themed with girls of Yi ethnic group in a realistic language,presenting a classical temperament.Since the 21st century,obvious changes have emerged in her works,which adopt image languages featuring reality and expressiveness.Based on the exploration of corresponding artistic processes of MO Ye,this paper finds that such changes of her works happen from within and derive from her in-depth excavation of her own spiritual connotations and introspection of her own living environment;and that associated relations exist between the creative ideas and formal languages embodied in her works at different periods.Since the 1980s,China’s art development has been under the influence of western modernism and eastern traditional aesthetics.Under this flourishing art environment,MO Ye has demonstrated her calmness with clear creative thinking trend.The concept of image oil painting has always been controversial.In her art creation process,MO Ye has eventually developed image languages of her own characteristics and turned her paintings into image oil paintings.By studying the image languages of MO Ye’s paintings,it narrows the broad concept of image oil painting into a specific art,thus rendering the understanding of such concept deeper and more concrete.This paper mainly analyzes the image languages of MO Ye’s paintings,and discusses its formation,evolution,characteristics and value in Chinese image oil paintings.This paper begins with an Introduction.In Part I,it discusses relevant concepts and corresponding development situations from the reasons for topic selection,current research status,research significance,and research ideas.Meanwhile,it also introduces certain information about MO Ye and the significance of this paper.Part II of this paper describes the background how the image language is formed in MO Ye’s paintings,and analyzes the transformation of creative ideas and formal languages in her paintings.From the relationships between the evolution of her works in different periods and her living conditions and art environment,Part II analyzes the reasons why the image language is formed in her paintings.Part III interprets the image languages of MO Ye’s paintings.It points out that MO Ye developed several clear-cut painting series in her art creation process.Based on the creation time and styles of her paintings,this part expounds that MO Ye’s paintings may be divided into three parts as below from the early days to the present by taking the gradual formation and development of the image language in her paintings as a clue.Specifically,in the early days,her painting works are themed with "girls of Yi ethnic group".It discusses the seeds of image languages and characteristics in her works in this period apart from the tendency towards "image"concept in these works.In the intermediate period,MO Ye’s paintings remained the themes of "studios" and "girls of Yi ethnic group".It mainly discusses the formation and gradual development of the image language in her works,and characteristics evolution from the initial pure realistic language to features combining realistic language and expressive image language.Analysis and interpretation of her works in this period are made to elaborate the formation and representation of the image language as well aesthetic experience of the images in the works.Regarding her works in the later period,this paper focuses on those rich in oriental aesthetic charm with image symbols like"cold ponds","zen flowers","wastelands" and "golden mountains and still waters",and discusses the maturity and refinement of their image languages as well as the relationship between works,their characteristics and Chinese traditional aesthetics.Part IV of this paper explains the spiritual connotations of the image languages in MO Ye’s paintings.From the aspect of the formal language of the works,it discusses the complementary relationship between the subjective and real picture contexts and the matching image languages.From the perspective of the creative ideas of the works,it discusses the oriental aesthetic charm revealed in the final works completed based on her introspection of reality.Part V describes the value of Imagery Language in Mo Ye’s Paintings.In connection with the development of Mo Ye’s paintings and Chinese image oil paintings,it discusses the relationships between oriental aesthetic charm and image languages in image oil paintings,and the value of Imagery Language in Mo Ye’s Paintings,and therefore proposes a new understanding of the image oil painting.Meanwhile,it delivers deeper thinking by combining the current Chinese art environment and MO Ye’s art creation process.