百年山水画与中共当代艺术思潮英文版zuixin.doc

Professional English papersStudent ID 2090080104 Name guoyong liu College College of Art and Design Major Chinese paintingInstructor yubin Cui 2010-1-11Century Landscape Painting and Chinese modern art concepts20th century modern art landscape painting was an important part of history, it was concentrated and typically reflects the hundred years of Chinese art, especially the situation survival and development of Chinese painting, reflecting a number of generations and the pursuit all kinds of sensors. Landscapes of the 20th century, would help people from a particular point perspective art and people's relationship, perspective and value of the arts played changed to achieve the complexity and richness. 1, retro New: break through the barriers 4 Wang's The curtain of the 20th century landscape painting was late Qing Dynasty in the extension of the calm atmosphere of the traditional painting slowly pulled apart. 4 Wang's fashions awakens, stretches for hundreds of years as the dominant style, not only about the most famous landscape painters, but also attracts a large number of landscapes, a rising star. Of course, the so-called 4 Wang's rules should be a relatively broad concept, specific to different space-time painter who, in addition to Lou Dong, Yushan sort of a different implementation of point addition, it also contains a lengthy speech by process as well as the continuous variation To some extent compatible with other art-related grounds adjacent to the diversity of style choices. At the same time, dip irrigation in four wild monk Jing Jiang or factions, Song Shen Wu, Culture and sending pot style home is also no shortage of landscape. But it remains true that, from the late Ming Dynasty Dong Qichang landscape painters such as up southzong respected literati painting ideas, after a 4- Wang's faction interpretation, then the legitimacy of its unshakable position, commanding the 20th century, landscape painting altar. This flower industry was carried out by relying on a vigorous school of painting the sea change in posture, in sharp contrast. Landscapes tranquil scene first by the 1911XinHai Revolution with the rise of the New Culture Movement broken. KangYou-wei,ChenDuxiu, Liangqichang CaiYuan-pei, and other cultural reformers, who coincidentally, the critical alignment of the eyes of traditional Chinese painting, and in denying advocate academy of literati painting and the painting, as well as the spirit of the Western realist idea of the transformation of Chinese painting, with a high degree of consistency. "Chinese Painting from the decline of the country towards a very harmful carry on!" (Kang, "10000 Wood Cottage paintings Head") "If you want to improve Chinese painting, we must first draw leather king's life." (Chen Du-xiu "Art Revolution - A Lu Zheng ") These enlightening cry, even though from the mouth of the social revolutionaries, due to the lack of professional vision, are also footing the majority of development of the arts is not, therefore, not without extreme bias of the disadvantages, but then the Chinese landscape painting in particular, is still no is different from a pebble into a pond while appearing calm ripples. If we say that the birth of landscape painting from its beginning, been through a "write-shaped form, in order to color appearance color" means to become scribes class "lay on Tour", "Cheong God" set, entered the mature stage, but also through " as teacher and good fortune, in the very heart source "and the" real figure, "" comfortable, "" self-entertainment "," send music ", etc., is entrusted with the literati who's" Linquan of the heart ", then, embodies a high degree of self-conscious of a "calligraphy" concept and the mood created is relatively stable and stagnant landscape of Ming and Qing Dynasties, it reflects a more dense color negative Masquerade. 4 Wang school of painting into the Zuan great union cited routinization and Mogu with the wind, the reason for the revolutionaries become the preferred target of the criticism, not by accident. In fact, as early as the mid-19th century Dai Xi, Zhang Yin, Qian Du, Cai Jia and others, on the disadvantages of the four partial Wang was attacked, and the brewing and spirits from the Wu School and even the North were tracking Song and Yuan Dynasties people's Painting undercurrent. Place within such a landscape the return from work, skill or a model, realistic requirements, compared to Kang, Chen imposed from the outside painting the spirit of realism accession to the WTO, although the more rich in practical advantages, but only to the 20th century specific historical context is it possible to exchange to affect the entire landscape industry great strength. With the Restoration the improvement of the democratic revolution, study of the wind and the expansion of Sino-foreign cultural exchanges, all kinds of new ideas, new art came into being, shrouded painting three hundred years of North and South were on their Chongnan banished the concept of gradual collapse of the North, and many landscape painters In particular, the young painter, studied under traditional resources and therefore achieved a more open vision and sense of more freedom of choice. The National Palace Museum open, the popularity of the modern printing industry, as well as modern media, modern education, the rise of modern art community, and from many levels to support and enrich people's choice. Thus, from the 1920s began to break down barriers as well as four Wang Song, Yuan, Ming and Qing specifications upstream landscape diversity of the traditional pursuit of greater and greater influence. Who was the host to build the National Palace Museum's predecessor - the Ministry of Interior of the antiquities on display in Jincheng, first proposed carrying forward the style of the Tang and Song, Li Jiao Ming and Qing literati painting flaws in the so-called as "meticulous" as the orthodox school of painting ideas. A time to Beijing and Tianjin as the center of the northern landscape scene, gathered from the Xiao Qian, Hu Pei Heng, LIU Zi-long, Wu Jing Ting, Pu-ju, Qin Zhongwen, Miss Polly Chan and many other artists, most of them turned to look at Song and Yuan landscape, or from the North were building the base, emphasis on hospital painting, painting a writer research and inheritance, or committed to the north of the main north-south integration, emphasis on the portrayal of mood and Construction Qiu He. One of the most representative is the Pu-yu and Miss Polly Chan, the former taking the knot King Kam Nanzong Martial way, multi-hook chop, less wrinkle rub-wan was Qianhua to cold air of magnificent clear just unique, the latter from the the Ming Dynasty, Tang Yin Martial start upstream, and widely adopted Guo Xi, LIU Song-year, Zhao Meng left regulation, will push the North were refined elegant style of ink painting bold direction. With the Northern Song Dynasty painting of the group effect U-turn in comparison with Shanghai as the center of the southern landscape scene showing a more rich and varied colors. From 1926 to 1927, the Jincheng and Wu Changshuo has passed away, so painting the situation in the North-South had a difficult little attention to significant changes. Jincheng's died to make something original art painting activity was quite active in the north is gradually disappearing, although the Chinese Painting Research Society and the lake bearing the behest of society, continuing the trend of promoting the artist Song and Yuan dynasties, but subject to respect for the South four monks painting freehand painting style and stone culture were the impact of Xiao Qian, the Chi Pai-shih, Chen Banding and others have gradually risen, from the original painting, modeling their behavior on the Northern Song and Yuan dynasties dominant, progressive differentiation, the pattern painting, along with the overall impact of the North continued to decline on the eve of the founding of Xu Beihong White Peking Art College has not been a significant change. While the South after the death of painting, while in the Wu Changshuo into the art of a variety of styles, and the date of the new era, with Shanghai as China's economic and cultural center of an increasingly prominent, their influence is more extensive. Wu Changshuo altar after the death of marine landscapes, the most significant changes than the "3 Wu Yi-Feng", "sea 4 everyone" rise. This change arose as the carrier of the stone to bird and flower painting freehand painting style Tai Chi and in landscapes, backed by four monks fever, fully embodies the four WANG Feng-regulation in the landscapes, the lasting influence of the altar, is based on maintaining their connection with the Tang and Song Dynasties landscape painting tradition of the same strain of the body "Chihiro high," "Barry's back" and "Landscape" content and interesting. And the South stone impressionistic painting style with the heat-affected northern painting four monks sharp contrast, in the 1920s from the north of the artist painting the first to open the Song and Yuan dynasties of thought in the 1930s began to affect the South after the painting. Lake sails by Wu, Feng detached, Zheng Chang, He Tianjian to represent the sea landscape painter Ben and the South, such as Dai Xi, Zhang Yin, Qian Song, Qi Deng phase change after the first, in addition to regulation by the four Wang Feng Wu Shen Tang Chou prominent Nanzong a traditional fence, but also have both the first half of the 20th century, museums, publishing and exhibition business to Xiangzhu derived from the glimpse of Song and Yuan Dynasties. In particular, Wu Wu-fan, the former Andrew collection, but also identified by the polishers into the National Palace Museum, old paintings, both eyes wide, style gradient, 1936 "Cloud Table Qifeng out" from the Tang Chou and accommodating three Zhao, sweet, and can be elegant, may Furumi new, when on the return of the Xiran, not only marine painting, the acknowledged leaders in 1:00 enforcement, but also four Wang, Songjiang, Wu's literary landscape tradition with a moist and elegant "modern" features re-shake. Wu fan since the lake below, Feng detached, Zhang Shi Yuan, WU Qin-wood, a large number of landscape painters such as Yan Zi Xiang Yi Zhang Gaixian have switched Su Song and Yuan dynasties, the division's Wang Meng, France, Li Guo, Zong Dong Ju, Xue-Li Liu Martial more recent attack Shen green, much to recover three Zhao quaint, with the Northern painting, po-ju, Miss Polly Chan, Hu Pei Heng, Qin Zhongwen, such as Wu Jing Ting echoed, so that seems a new style of ancient real rage of the river north and south. In this remote process of recovering the ancient tradition of landscape painting, the famous painting of Chang Ta-chien at sea is undoubtedly the most gone the furthest one person. Chang Ta-chien in the landscape a little off the original study is that when the flow outside the wild-Yi school of painting, rather than tread a four king. From the four monks and turn to Song and Yuan dynasties, is also the history of modern landscape painting is an important clue, but compared to King along the stream from the four sources who discuss more mutations, but the realism is built with the same thing throughout a passer-by. With the ancient name of traces of opportunity in the war in San Yi Bo discuss wide search, Chang has done in three to four decades at the turn of abandoned well versed on behalf of Shi Tao and enjoying himself in the Dong Feng Xi Ju, Li Guo and Wang Meng-based tradition of Song and Yuan Dynasties. Similarly the pi, and the above mentioned Zheng Chang, He Tianjian, from the Stony Brook, MEI Qing, Shi Tao Yat-orbit shift teachers of countless, Ma Yuan and Xia Gui, Wang Meng of the Song and Yuan Dynasties. The Chang Dai-chien's Office also is prominent in the early 1940s with the Ink xidu quicksand, facing the wall stone chamber, will track the direction of the ancients directed Song and Yuan painting tradition of the previous coloring Jin and Tang Dynasties. North and South from 1920 to 1940 years to open new trend of retro landscape scene, both from the 4 on the upstream regulatory Wang Feng who come from as four monks from those who walk a fine line Yat-rail, but whether it is retroactive in accordance with the logic of orthodox development or from the Ye Yi faction to switch out of style, with traces of ancient name of the spread of civil society are all the same thing to a breakthrough since the North-South sub-cases for hundreds of years of strict barriers, more high on the exploration of ancient paintings rich tradition of landscape painting tradition of re-integration of resources be called, following Yuan Zhao Meng to the history of landscape painting is also the largest and most in-depth level of the ancient open new trend. A number of painters in the crowd, in the read all the documents on the paintings trace the same time, art, history studies have also achieved much success step fathers, not only identified the yuan before the representatives of the artist's standard devices, but also to clarify the true picture of China so far from the Jin Dynasty the development of origins. This common understanding of traditional painting and clean-up in terms of significance is indeed significant. Unfortunately, in the 1950s due to political intervention in the arts, the art school trend suddenly subsided. New China Art advocated "revolutionary realism", even though the mainstream tradition of Song and Yuan landscape areas is still realistic, but as the Yuan and Ming landscape painting in the history of the main vein in order to Zhao Meng led by Dong Qichang, four-Wang faction in Fourth Place literati landscape painting for "old teacher" characteristics of the first to often dismissed as "formalism," while being pushed towards "realism" of the opposite. 4 and its associated traditions become king rat in the street, four are run out of Song and Yuan Wang landscape traditions have been consigned to limbo along with 4 Wang Wei Ren and gradually forgotten, replaced by stands for "search best Qifeng scratch", " With the era of pen and ink when "and was" new landscape "respect and enlarged Shi Tao paradigm. After the founding of political interference in the performance art of the other is to emphasize the arts, "class nature", to promote rough, crisp and simple aesthetic sense, in contrast Hideitsu, moist, refined the style is reduced to a "decline of art" there arose cast aside, with Jincheng, Wu Lake sails, Chang, Pu-ju, Huang Chun-pi and others came and experiences, and in exceptional times and causing the artistic style it represents the gradual loss of take shelter space. Second, Zhang Yang Personality: wild camp style Yat Half of the 20th century landscape painting, Wang Chuan-four parallel development pa