Image Expression In Modern Chinese Painting

"Image" has been one of the important concepts in Chinese literary theory since ancient times.It is not only the visual expression of traditional Chinese philosophy in the art of painting,but also an important aesthetic standard and way of thinking in ancient China.When the opium war broke out in 1840,foreign cultures from the west had a great impact on China's closed cultural environment.Before and after the May 4th movement,a large number of young people went abroad to study art and came into contact with new concepts of western art,and then explored the requirements of modern Chinese painting.Under the social situation of internal and external troubles,Chinese intellectuals and artists took the initiative to understand and respond positively,and put forward a variety of plans for the reform of Chinese art.Wu dayu,who works in hangzhou national art school,advocates the combination of western modern art and Chinese traditional essence,creatively puts forward the modeling rules of "potential image","adopting rhyme" and so on,and pursues the expression of image that transcends image and objects.He told his inner journey from the aspects of picture composition,image presentation and aesthetic taste,and formed a unique painting language,which influenced many students imperceptibly.For example,wu guanzhong who expresses localism,zhao wuji who loves pastoral nature,and zhu dequn who expresses scene blending,etc.Both of them inherited the freehand brushwork expression and form expression mode of intuition advocated by wu dayu,and then combined with their own feelings and experiences in practice to form their own unique styles.Grasping perceptual perception in rational experience is the intuitive way of image expression,and conveying image is the aesthetic appeal.Personal emotion is expressedthrough the creation process of image and the construction of formal language.This paper takes Mr.Wu dayu as the main body,and selects two of the most representative students--wu guanzhong and zhao wuji to analyze the specific form.Starting from the historical origin of image expression and the exploration of modern painting combining Chinese and western,this paper analyzes the aesthetic taste,modeling language,image presentation and subjective expression of image expression by means of mutual evidence of image history and form analysis.Under the existing academic achievements,the author further studies the knowledge reserve,educational background and artistic thoughts of Chinese and western culture of wu dayu's teachers and students,as well as how to integrate Chinese traditional aesthetic elements with western visual forms to achieve a high degree of unity between formal beauty and artistic conception,thus providing inspiration to contemporary painting practitioners.This paper is divided into five chapters:The first chapter is the introduction.This paper expounds the exploration.significance,research status and argumentation methods of image expression in modern Chinese painting.The second chapter expounds the concept of "image expression",the specific practice in modern Chinese painting and the inheritance of wu dayu's teachers and students.The third chapter analyzes the artistic characteristics of "image expression" from three aspects: emotion expression,image modeling and aesthetic taste.The fourth chapter USES the method of form analysis to explain wu's "rhyme heart potential",wu guanzhong's "national interest" and zhao wuji's "natural rhythm".The last chapter is about the historical influence of image expression,aesthetic value and inspiration to contemporary creators.