The Rise and Development of Hunan Gong Bi Painting from 1980 to 2000: Expressing Life Through Tradition
DOI:
https://doi.org/10.53469/jsshl.2024.07(04).15Keywords:
Hunan Gong Bi Painting, Using Tradition to Express Contemporary Life, IconographicAbstract
Gong Bi painting, one of China's most influential traditional art forms, evolved significantly in the 20th century, transforming into modern Gong Bi painting. Hunan Gong Bi Painting (HGP) experienced a resurgence in the 1980s, becoming a prominent force in the field. This resurgence introduced a new style, "using tradition to express contemporary life," which blended classical techniques with modern themes. During this period, Hunan Gong Bi painting achieved significant accomplishments, becoming a major influence in the national Gong Bi painting scene. This paper aims to analyze the specific characteristics of "using tradition to express contemporary life" from an iconographic perspective. The study employs qualitative research methods, including case studies, observation, interviews, literature analysis, and thematic analysis. Findings reveal that HGP retained the intricate line work and refined color application typical of traditional Gong Bi painting. In terms of theme, Hunan Gong Bi painting focused more on contemporary life and natural scenery. This fresh style met the post-Cultural Revolution society's need for diverse cultural forms and artistic styles.
References
Cao, Y. (2017). Bagong Yunjin Bieyou Lingqi: An Essay on Yang Xianshun's Landscape Paintings. Creation and Criticism(20), 121-128. doi:10.14039/j.cnki.cn43-1515/i.2017.20.022.
Cheng, B. (2012). Chen Baiyi: The Leading Figure in Contemporary Gongbi Painting. Creation and Criticism(02), 109-113.
Hunan Provincial Association of Literary Critics. (2013). Sixty Years of Hunan Literature and Art. Hunan People's Publishing House.
Li, P. (2013). Tian Gong and Freshness: Evaluating Mo Gao Xiang’s Gongbi Flower-and-Bird Paintings. Creation and Criticism(08), 98-100.
Li, P. (1993). Zhènmì Gōngxì Yǎlì Qīngrùn: Reading Mo Gao Xiang’s Flower-and-Bird Paintings. Hunan Education(01), 44-45.
Mo, G. (2013). Dànbó Zìrán Huì Qīngjìng. Creation and Criticism(08), 95+129-132.
Qian, Y. (2015). A Brief Discussion on Gongbi Landscape Painting. Jingdezhen Ceramics(01), 41-42.
Wang, J. (2019). Inheritance and Development of Traditional Colors in Contemporary Gongbi Painting in China. Beauty and Times (Middle)(09), 12-13. doi:10.16129/j.cnki.mysdz.2019.09.005.
Wang, S. (2012). Simple, Lively, Elegant, and Ethereal: Appreciation of Chen Baiyi’s March 3. Elderly Education (Painting and Calligraphy Arts)(04), 6-7.
Wu, J. (2018). Comparison of the Artistic Styles of Lin Ruoxi and Mo Gao Xiang’s Gongbi Flower-and-Bird Paintings: An Iconographic Analysis. Art Appreciation(26), 35-36.
Zeng, J. (2002). Theoretical Research on Gongbi Painting Techniques. Hunan Fine Arts Publishing House.