| Traditional Chinese painting is particularly important in the global art history,which is not only the unique aesthetics left in the long history of this land,but also the important material and spiritual civilization of human beings.Nowadays,the content of traditional art tends to be diversified.For contemporary painting creators,how to watch and use these classic images and "look back" on this history with their works is also extremely important.The review of the history of Chinese art is a dialogue between today and the past.There are many ways to carry out "dialogue"."Image translation" is the main way of personal art practice,and also the core issue to be discussed in this article.Today,ancient paintings are more pictorial.Through the screen,album and other carriers,the images of works become substitutes for appreciating the original works.They are partial fragments,but also incomparable integrity.Today,in the 21 st century,we are in an information developed social environment,we are the viewers and producers of traditional images,these images also exist as a cultural concept,they represent the unique logic of traditional Chinese painting.Therefore,this paper will mainly list the green landscape works in the history of Chinese art and the Dunhuang grotto murals as the focus of discussion.Under the current image translation,both of them have multiple relations with the "origin" of the works,and their artistic carriers also have a unique position in the writing of the history of art--the former is the browsing in the form of hand scrolls,and the latter is the comprehensive art of cave shape and system.At the same time,the use of media in today’s Chinese art is more extensive.Traditional painting carrier and contemporary mixed media are two completely different kinds of narrative.This paper will also specifically explain the discourse overlap between these used traditional images and the contemporary society and individual artistic practice. |
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