A Brief Analysis Of The Stickiness And Non Stickiness Of Xinjiang Painting

Xinjiang has very profound cultural connotation and multi-ethnic cultural resources.From ancient period to modern times,Xinjiang painting has undergone the development and evolution process of rock painting,Buddhist murals,miniature painting,Russian realism oil painting,modern painting and contemporary painting.The subject content and language style of painting also changed with the change of the times.Since the 1980 s,Xinjiang painting has only depicted local customs in the theme for a long time,thus forming “conservatism”.Compared with the global contemporary art form,today's Xinjiang painting is in a borderline state,but there are new signs in recent years.Affected by “regionalism”,“ethnicity” and Soviet Russian realism painting for a long time,and the lack of art education resources,Xinjiang painting lacks the comprehensive training of the theoretical knowledge and creative thinking of contemporary art,which leads to the long-term adoption of traditional academic painting techniques by local art talents,imitation of previous themes and painting language,conservative artistic concept of local artists in Xinjiang,and creation of “conservative painting”.The creation and exhibition activities of local painters mainly focused on works with regular themes,which led to the simplification and similarity of the artistic atmosphere of painting in Xinjiang and the lack of rigorous scholarship.Some of them explored and practiced the language form of modern painting based on regular theme,and created works with modernity characteristics.Xinjiang minority artists who went to study in the mainland have tried to break the shackles of traditional academic painting since the 1980 s,explored and tested the new possibilities of painting art,who kept pace with the times,and created “non-conservatism” paintings with personal characteristics,for example,Abudukelimu's modern decorative oil painting,modern painting of Najimidin and Rexidan,abstract paintings of Zhumayujiang and Anniwaer,Fulati's photographic painting.Due to the slow development of Xinjiang painting,the relevant policies put forward by the state have played a driving role in Xinjiang painting art,exhibition activities,the construction of art disciplines in Colleges and universities,the construction of art scientific research,personnel training and other aspects,making Xinjiang painting go out of conservatism and simplification,and gradually move towards diversification and internationalization.At present,Xinjiang painting is facing new challenge and new topic,local artists need to embrace the diverse art world,to learn and follow the contemporary art form,so that to create unique non-conservative painting with distinguishing characteristics and contributes to the sound development of Xinjiang painting.