Research On The Development Of Xinjiang Traditional Chinese Painting Since The 1980s

Xinjiang is rich in natural tourism resources,with vast territory,different landscapes,and many existing ethnic groups.Different ethnic beliefs and folk cultures make the subject matter and form of Xinjiang’s painting varied.The migration of nomadic peoples,the integration of multiple ethnic groups,and the baptism of religion and war have formed a contemporary Xinjiang with multicultural integration.With the joint efforts of 47 ethnic groups,the colorful Xinjiang customs have been formed.Since the 1980 s,with the development of social economy and culture,the rapid emancipation of thoughts,various national exhibitions have increased day by day.From the sixth to the thirteenth national art exhibitions,a number of outstanding Xinjiang painters have emerged.They focus on the real life of Xinjiang people and deeply tap their thoughts,feelings and aesthetic tastes based on the local customs and landscapes of Xinjiang.Gradually formed his own unique personal painting style,created unique Xinjiang traditional Chinese painting,which also represents the overall development level of Xinjiang traditional Chinese painting,making him an important member of the national art exhibition.Deeply understand the creation style of contemporary Xinjiang traditional Chinese painters,and provide a useful reference for other artists’ traditional Chinese painting creation.This paper systematically combs out the development status quo of Xinjiang traditional Chinese painting in the national art exhibition since the 1980 s.Through in-depth research on the selected representative works,it focuses on its theme,form,painting language and other aspects to explore the problems and development prospects of Xinjiang traditional Chinese painting in the national art exhibition.The thesis is divided into five parts: the first part is the general situation of the development of Xinjiang traditional Chinese painting,roughly understand the art development of the whole Xinjiang traditional Chinese painting;The second part mainly discusses the exhibition situation of Xinjiang traditional Chinese painting since the sixth National Art Exhibition,which can be divided into three periods: the art exhibition works in the development period of the reform tide,the art exhibition works in the new form of reform and opening up,and the new climax period of the reform window.Statistical summary of Xinjiang traditional Chinese painting works in each national art exhibition,analysis of the cultural background of the current era,and analysis of the representative painters and works;The third part is the theme and style of Xinjiang traditional Chinese painting from the perspective of national art Exhibition,analyzing the general situation of Xinjiang traditional Chinese painting selection,understanding the commonness of works selection,digging deeply into its forms of expression and themes,and conducting specific analysis of representative works;The fourth part is the artistic language characteristics of Xinjiang traditional Chinese painting in the national art exhibition.It analyzes the representative Chinese painters and their works from the sixth to the thirteenth,and analyzes the artistic language characteristics of Xinjiang traditional Chinese painters from the aspects of modeling techniques,color language,composition form,etc.The fifth part explores the influence of the national art exhibition on the creation consciousness of contemporary Xinjiang traditional Chinese painting and analyzes the orientation of Xinjiang traditional Chinese painting in the current national art exhibition.The prospect of Xinjiang traditional Chinese painting.The whole paper analyzes thoroughly from the table and inside,from the outside to the inside,and from large to small the works to be exhibited.With their own unique style,Xinjiang Chinese painters have created their own world in the national art exhibition,and made their own contributions to the development of Xinjiang Chinese painting.At the same time,there are certain limitations in the creation of Xinjiang Chinese painters,which need to be improved and promoted.Believe that Xinjiang traditional Chinese painting will be better and better!...