The application of Chinese elements in painting creation
Yang Yu (Chongqing College of liberal arts academy of fine arts instructor Chongqing 400000)
Abstract: In the growing wave of economic globalization, region, supranational ideology gradually formed, changing the areas of the world. However, in the process of towards convergence, cultural convergence formed by a single question, has attracted great attention. How to draw lessons from and development of the regional, national and cultural traditions, establish multicultural pattern, has become the important subject facing all areas need to seriously, painting creation, of course, also should keep pace with The Times.
Key words: Nationalization elements; Painting creation; Diversification; Chinese elements; The Chinese meaning
The same people, different areas, each have a different life habits and cultural background, with a long history development stage; gradually form a wonderful and distinctive style of traditional art. These by passed down generation after generations art is not only rich, but also contains profound cultural connotation, reflects the ethnic customs and habits, emotional, psychological and aesthetic temperament and interest and its aesthetic idea. Contemporary painting and the combination of traditional elements will be a meaningful combination of traditional elements in the creation and discover the correspondence of, reuse, and then create. Traditional painting elements as a region, a nations instinct soil culture, for the collision and fusion of foreign culture, modern culture phenomenon produced in the process of integration, is a very important aspect of contemporary art.
First, the performance of Chinese national elements in painting creation
Painting is the painter artistic culture activities with a purpose. Through experience perception, production of various links such as sketches, works done step by step. Creation is the illicit close sex of the individual to the social form feedback, has an irreplaceable social value, and is an important means of human cultural heritage. In China, the concept of modern painting into the time is not long, but is not to say that our nation lacks the elements of painting. Historically, our traditional arts are the most beautiful page in the development of human civilization, such as: yang Shao, horse home kiln, quailing and pottery unearthed, variety is rich, all sorts of modelling are showing their different features, but also has extremely touching aesthetic feeling. On this basis, the ancestors using the red pigment, embryo in ceramics surface geometric patterns of plants and animals (1), its artistic charm let countless with modern artists. However, we should see a big differences between Chinese and western culture and art. The image of Chinese painting world, not the artist created after theme onto a piece of natural scenery, but out of germinal mind (3). And paid more attention to the external form of the objective world and western art form is an extremely important problem in the process of art creation. Classical master Angle once and earnest of say: 'to draw, write, especially go to the copy, still life, like to treat all things you copy from the accident has been created, and this kind of copy to help the introduction of art (4)'. The differences between Chinese and western culture and art, of course, more than that, but it is a fundamental difference between Chinese and western art culture. But it is not cannot eliminate this gap, especially in modern society, more and more rich cultural ensemble and has become a development trend. The nationalization of contemporary painting is put forward, trying to put the Chinese national culture breath, means, the overall style of communication as a display, in order to allow us to conscious direction efforts from now on. In fact, China is far from assumed, given by a big country in the culture, especially in the arts. Long pause on construction make us away from the center of world culture, we should be the center of the worlds culture, because in China into a manufacturing power at the same time also must become artistic power. China needs not only economic rise, for culture and art what we need is more national identity and honor.
Second, the use of Chinese elements in painting creation
The traditional Chinese art has deep ring. Such as Chinese calligraphy and broad, heavy traditional painting business location, such as white when the black (5). These are one of the roots of Chinese contemporary art; we need to seriously study and research. China has the worlds oldest culture, in the present life of Chinese people, 'China' with 'western' often, for example: chopsticks and forks, cheongsam and a suit, temples and churches, etc. Actually culture and plants, only different varieties of hybrid, to produce a stronger more superior varieties. Chinese culture is now in a very good state, now if we continue to view culture with an open mind, to go beyond cultural barriers, will bring the world cultural diversity of new vitality. Traditional treat it with respect, abandoned and blindly follow the inequality of attitude are not fully achieve the purpose of the original. In fact we hope is that we have a lot of resources, we have abundant creativity and expressive, need to choose us, maybe someone will think equal attitude hindered the judgment, we cant have no choice, choose you need to determine, and had to retreat from choice. If we can clearly aware of our artistic language is unable to get rid of the influence of geography, at the same time we can along with the gender for again, I think at this time of creation have been close to the nationalization of the performance. To achieve the nationalization, 'Chinese elements
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绘画创作中的中国元素的应用
杨 渝 （重庆文理学院美术学院讲师 重庆 400000）
摘要：在日益发展的经济全球化浪潮中，超地区、超国家的意识形态逐渐形成，不断的改变着整个世界的各个领域各个层面。然而，在走向趋同的过程中，文化趋同所形成的文化单一问题，引起了人们极大的关注。如何借鉴和发展地域性，民族性的文化传统，建立多元文化格局，已经成为各个领域需要认真面对的重要课题，绘画创作当然也应与时俱进。
关键词：民族化元素，绘画创作，多元化，中国元素，中国意味
相同的民族，不同的区域，有着各自不同的生活习惯和文化背景，经过相当长的历史发展阶段，逐渐形成精彩纷呈的、各具特色的传统艺术样式。这些靠一代代传承下来的绘画形式不仅丰富，而且还蕴藏着深刻的文化内涵，体现了各民族风俗习惯、情感心理和审美情趣及其审美观念。当代绘画与传统元素的结合将是一个有意义的组合，也是传统元素在当下创作中再发现、再利用、再创造的契合点。传统绘画元素作为一个地区，一个民族的本能土文化，对于外来文化、现代文化进行碰撞和融合过程中所产生的整合现象，是当代绘画创作的一个非常重要的方面。
一、中国的民族元素在绘画创作中的表现
绘画是画家有目的的进行艺术性的人文创造活动。通过体验感知、创作草图、作品制作等各个不同环节逐步完成的。创作是个体化对社会形态的私密性反馈，具有不可替代的社会价值，是人类文化传承的重要手段。在中国，现代绘画的概念进入的时间并不长，但并不是说我们这个民族缺乏绘画的元素。从古至今，我们的传统艺术都是人类文明发展中最美丽的页，如：仰韶、马家窑、屈家岭、大汶口等出土的彩陶，品种丰富，各种造型都表现出各自不同的功能，又具有极为动人的美感。在这个基础上，祖先们运用黑红颜料，在陶胚表面画上动植物的几何纹样 ① ，其艺术魅力让无数近现代艺术家为之倾倒。但是，我们应该看到中西方文化艺术有着很大的分歧。中国画的形象世界，不是艺术家主题投射到某片自然景物后创造出来的，而是从心灵中生发出来的 ③ 。而西方艺术更注重客观世界的外在形式，形式问题是艺术创造过程中一个极为重要的问题。古典主义大师安格尔曾语重心长的说：“去画吧，写吧，尤其是去临摹吧，像对待一般静物那样，所有你从造化中临摹下来的东西已经是创作了，而这样的临摹才有助于引入艺术 ④ ”。当然，中西方文化艺术的差异不止于此，但由此可见中西方艺术文化是有根本区别的。但这种隔阂并不是无法消除的，特别是在越来越发
达的现代社会，文化综合已经成为了一个发展趋势。当代绘画的民族化的提出，试图把中国民族文化气息、意味、风格的整体传播当作一个问题陈设出来，以使得我们能够意识的从此方向做出努力。事实上，中国远没有承担起一个大国所赋予的影响，在文化上，尤其是在艺术更甚。长期在建设上的停歇使我们远离世界文化的中心，其实我们本该是世界文化的中
心，因为中国在成为制造大国的同时也必须成为艺术大国。中国不仅需要经济上的崛起，对于文化艺术我们需要的是更多民族认同与光荣感。
二、中国元素在绘画创作中的运用
中国的传统艺术精妙绝伦有深不可测。诸如汉字书法厚重与博大的气息，传统绘画的经营位置，以白当黑等 ⑤ 。这些都是中国当代艺术的根源之一，需要我们认真的学习和研究。中国有着世界上最古老的文化，在当下中国人的生活中，“中华”与“西洋”经常同在，比如：筷子和叉子、旗袍和西服、道观和教堂等。其实文化和植物一样，只有不同的品种不断的杂交，才能产生更强更优良的品种。中国文化现在正处于一个非常好的状态中，现在如果我们继续以开放的心态看待文化，达到超越文化隔阂，必将会给世界文化带来多元化的新活力。对待传统要用尊重的态度，摈弃与盲从的不平等态度均不能完全达到原来的目的。事实上我们希望的是我们感受拥有很多的资源，我们拥有丰富的创造力与表达力，选择我们需要的，也许会有人认为平等的态度妨碍了判断，我们不可能没有选择，选择需要判断，而选择就不得不摈弃。倘若我们能清楚的意识到我们的艺术语言是无法摆脱地域的影响，同时我们又能随性而为，我想这时的创作就已经接近民族化的表现了。要达到民族化，就不可避免的应用“中国元素”，也就不可避免的与中国传统文化相接触，我们这里所说的“中国元素”，是指所有传统文化中的能为大家所能溶解和掌握的东西。它将贴切和自然的出现在你的作品中，作为你的作品元素存在。通过“中国元素”便可引申到“中国意味”。但“中国意味”并不是零碎元素的拼凑，它是一个整体，是你能感觉到又不能割裂的东西。这种气氛和氛围，引导着大众的视觉感官。作品的感染力只有在圆满的实现了“意味”的体现后才能获得。因此，我们在艺术创作中注意力不止是被某些元素所吸引，而是要更加关注于“元素意味”的支撑作用，注意“意味”的准确性和传达能力。“中国意味”对于世界文化来说，包含了这个群体的文化整体印象，也包含了这个群体的整体意识。更重要的是我们必须把握住“中国意味”的面貌和气质，这一点必须是在创作之初lsquo;体验感知rsquo;这个阶段就应该意识到的。总之“中国元素”“中国意味”彼此相互关联，它们是中国民族元素在艺术创作中的运用的两个方面，是决定形成艺术创作区域化的重要符号。这也是当代艺术在不同区域所形成的不同面貌的根本。研究这些问题，是无穷尽的。
三、结语
近几年来，本人把更多的精力用在研究艺术创作中的民族化和全球化这一课题上。也积累了一些想法和经验，因此写出来与同仁们共同探讨。最后我用一句话来结束——既是民族的，才是世界的！
参考文献：
①徐复观：《中国艺术精神》.台湾学生出版社.1965.
②王国维：《古雅之在美学上之位置》.1907.
③蒋维青：水墨实验语境.《中国画》总第13期
④安格尔 著 朱伯雄 译：《安格尔论艺术》广西师范大学出版社.2004年5.1
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