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四川美术学院硕士学位论文 英文摘要
andexpressionlanguageabove.Suchfeaturesasfollows:1.toshowsomeoftheworks
begantofocusonthedailylifeofleisureandfun,earthlyjoy,thejoy ofhumanity,or
theseculareroticandDesireside.LiJinworksasEnronssweetpleasuresplot,Zhu
NewWorksrecklessandnotshyeroticsense.Infact,thisisbothatasteoftraditional
literatipaintingelegancerebellion,butitispreciselybythethoughtofLaoziinfluence
fromanotherancientroad,withHappy,open-minded,rebelliousandunruly,inheritance
andnaturalblindliteratispirit.2.Onthecharactersoftheshow.Inmostworks,the
femaleimageasthemainrecurring.Theymostlyexaggerated,gaudydress,thefat
nudity,orevenbehavioramongprominenttraits,nakedimageappearsonthescreen.
Combinedwiththelargecontextofsociologicalsignificancebehindtheworkinherent
ininterpretation,thesewomenbecomeonerepresentsadifferentdefinition,issymbolic
andalienationoftheimage.AsdescribedbyZhuNewBreastfeet,half-fadedimageof
womenasrepresentedXieyilusts;LiJinpenplumplovely,warmfeelinglazycasual
femaleimagerepresentedfamilylife;HuangYihantookpeninthewhistleofthenew
generationwomenrepresenttheimageofconsumerismsymbols.3.Thebolduseof
colorterms.Traditionalliteratipaintingimpressionisticportraitsmoreinlovewiththe
tasteofinkandinkchangebetween,andafterthecoloroftenbecomeInkpoints
multicoloreddispensableappendage.AndLiJin,HuangYihanandotherbolduseof
color,andevenmakeitbeyondtheinkbecomesmainlycomposedofthescreen.These
non-traditionalbrighteye-catchingcolorcombinationsandmore,suchashighpurity
pink,green,yellow,somewithcolorcanoftenseetheimpactbroughtaboutfolkarts
andcrafts.4.misappropriationofpublicculturalsymbols.AsHuangYihancartoon
images,printadsandotherpopculturesymbolonthescreenofmisappropriationandso
on.
Thisimpressionisticportraitssharesin 1980afterthepan-gaudyphenomenonis
thinkingofcontemporaryChinesepaintingsanddrawings,languageoncefavorable
attempt,innovationandexpansion.Itbringstothepublicanewartandvisu
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