Other representatives of modern Chinese painting

Huang: Turn the profound traditional cultivation, knowledge and love for the mountains and rivers of the motherland into strong brushstrokes.

Pan Tianshou: There is a farmer's simplicity in temperament, but his upbringing is entirely literati's. He combined the northern and southern sects into one, broke through the beautiful and feminine style of flower-and-bird painting since the Ming and Qing Dynasties, and created a strange and dangerous style.

Fu Baoshi,,, He,,,, etc. It also enriches traditional painting with different styles. The works of these modern painters have different degrees of distance from the modern ideological trend and modern aesthetic ideal, but they all show profound national cultural consciousness and penetrate people's emotional psychology at that time to varying degrees.

Qi Baishi's truth and strength, Huang's profundity and enthusiasm, Pan Tianshou's boldness and fortitude, and Fu Baoshi's frankness and passion are all related to the modern spirit, and they have all broken through the ideological and emotional category of traditional literati painting in a certain sense. In the development of Chinese painting for nearly a hundred years, it is accompanied by the phenomenon of integration and absorption of world artistic elements, which is the general trend of mutual promotion and common development of world cultures. The foreign arts absorbed and used for reference mainly include: the west (the United States, France, Italy, Russia, etc. ) and Japan.

At the end of the Qing Dynasty and the beginning of the Republic of China, especially since the May 4th Movement, western artistic ideas, works, art education and works were introduced in large quantities. With the anti-feudal revolutionary movement in culture, the slogan of "artistic revolution" was put forward. A large number of young artists have studied in Japan, Europe and America, and it has become a trend to learn western art and reform China's painting.

Cai Yuanpei, Kang Youwei, Chen Duxiu, Lu Xun and painters Xu Beihong, Gao, Liu Haisu all advocated the combination of western realistic art or academic art with traditional painting. For decades, the painting of harmonious China has become the mainstream, which is one of the manifestations of China people's desire and struggle to push ancient civilization into modern civilization in the field of fine arts.

The Lingnan School of Painting, with Gao, Chen and Chen as its founders, advocates eclecticism and the combination of ancient and modern. Most of them have studied in Japan, studied modern art in the West and Japan, emphasized sketching, set out from reality, and were educational and integrated with Chinese and foreign painting methods, such as light color and depth. Especially in the creation of landscapes, flowers, birds and animals, they combined the boneless painting method of Ju Lian, the bumping painting method of water rushing and the painting methods of Japanese painters such as Yokoyama Taikan and Zhang Lai Tanaka, trying to create a kind of unrestrained and contemporary beauty. Although Lingnan School of Painting has gathered a group of Chinese painting innovators in Guangdong, it does not refer to the regional school of painting that depicts local customs or scenery. Their bold exploration of creating new Chinese paintings, though immature, had a great ideological influence.

Inspired by Gao He, the founder of Lingnan Painting School, and Kang Youwei, a modern thinker, Xu Beihong combined European realistic painting with traditional techniques, and introduced vivid modeling and artistic thoughts of worrying about the country and people and modern life into Chinese painting creation and teaching, which made great contributions to the educational reform of Chinese painting in the 1950s and 1970s.

The blending of China and the West has broad possibilities and choices, which can be blended into various types, forms and styles. For example, Chen Zhifo melts the decorative colors of the East and the West into meticulous flowers and birds, leaving no trace; Zhang Daqian's splash-ink painting in his later years borrowed some factors from western abstract expressionism without changing the traditional charm of the picture. On the premise of not weakening the role of traditional pen and ink, Li Keran absorbed the sketch method and realistic concept of western painting; Wu Guanzhong used the materials and tools of Chinese painting, the forms of western modern art, and the concepts and methods of hue to express traditional poetry and realm, each with his own merits.

Mature middle-aged painters in the 1980s, even young painters who have just entered the painting world, have made various attempts and explorations in the integration of Chinese and Western painting. Jia absorbed western abstract techniques and realized oriental symbolism with large pieces of ink and wash; Tian Liming combined the oriental feelings of man and nature with western impressionism, and pursued the expression of light and shadow in Chinese painting. Yang Ruifen combined the western color consciousness with Chinese painting, pursued the texture by rubbing paper and dyeing, and absorbed Japanese decorative painting and western design ideas. Jiang Caiping introduced the rock paintings that originated in China and prevailed in Japan into meticulous painting creation and teaching; Wait a minute. It is the common feature of this trend to firmly grasp the pulse of the times and deeply understand and learn from tradition. From Towards the Crossroads to Depicting Workers, Peasants and Soldiers

Since the Yuan Dynasty, Chinese painting has been gradually closed in the world of literati and aristocrats, with little depiction of lower-class workers and complicated social life, and no appreciation of lower-class people as the main body. During the Republic of China, with the democratic revolutionary movement in the political, economic and cultural fields and the spread of enlightenment and Marxism, artists also put forward the slogans of "people's art", "going to the crossroads" and "popularization".

At the end of the Qing Dynasty and the beginning of the Republic of China, Wu Youru, a famous painter who used traditional painting techniques to describe urban secular life and fresh experiences at home and abroad, used lithograph pictorial as a means to spread his popular works, which had a wide influence. Before the May 4th Movement, Chen Shiceng, a famous painter in China, painted a picture album of Beijing Custom Map, depicting rickshaws, water splashing people, fortune tellers, grinders, dung diggers, lamas and monks, and old Xi 'er on the streets of Beijing in a semi-freehand and semi-comic way.

In the late 1920s and early 1930s, Lingnan painters Huang Shaoqiang and Fang Rending also used sympathetic brushstrokes to describe the miserable life of urban and rural workers. Zhao Wangyun in the north went to southern Hebei, Cezanne and other places to sketch, taking the miserable life of farmers as the painting material, which was serialized in Tianjin Ta Kung Pao, causing widespread social repercussions. He ignored the accusations of "not following the teacher's way", "illegal ancients", "arbitrarily discrediting", "giving up all his teachers and schools to create a true spirit of his own" and "changing the old painting style" ... and awakened the masses with "sincere love" (Wang Senran's Zhao Wangyun, a popular painter, and Ta Kung Pao). Feng Yuxiang wrote poems for a large number of his sketches, and both Lao She and Guo Moruo affirmed that this was an artistic revolution.

During the Anti-Japanese War, China painter Shen Yiqian went in and out of the bonfire battlefield to sketch, and Jiang, who lived in the occupied area, created the map of refugees. Some painters in Sichuan rear area, such as Guan Shanyue, also went to the northwest to sketch. Following the footsteps of the times, they expanded Chinese painting into new fields, let the elegant and detached traditional painting walk out of the ivory tower and escape the struggle of life.

After the founding of People's Republic of China (PRC), Chinese paintings began to generally depict real life, and a number of new figure painters appeared, such as Shi Lu, Huang Zhou and Li Hu. Walking to the Crossroads has become a description and praise of workers, peasants and soldiers. Even landscape flower-and-bird painting is related to the real social content and emphasizes the significance of ideological education.

Since the late 1970s and 1980s, China painters have gradually summed up their historical experience, reconsidered the relationship between painting and reality, and emerged a large number of young and middle-aged painters who dare to create and study traditions. China painting has taken on a new look.