| dc.description.abstract | The terms of “The Chinese Style of the Oil Painting”proposed by Dong Xi-Wen in 1957 and “Nationalizing the Chinese Oil Painting” brought up by Artists of Mainland China in the middle of the 1950’s have not much difference in terms of essence. Both of terms emphasize that the creation in Chinese oil painting is necessary to stand out the subject of Chinese traditional custom. Dong Xi-Wen who advocates “Chinese style” instead of “Nationalizing” clearly points out the various skills which should be displayed in Chinese painting. He also makes description of which manifestations of Traditional Chinese painting can be blended or integrated in the Oil Painting in “From the Manifestation of Chinese painting to talk The Chinese Style of the Oil Painting” section by section and explicitly demonstrates the painting skills which can be adopted from Traditional Chinese painting in displaying Chinese flavor. Thus, this book provides artists who attempt to go along with “The Chinese Style of the Oil Painting” several principles in practice on one hand, and on the other hand, it also provides them a demonstration of Dong Xi-Wen’s painting style.
The first chapter of this thesis describes how the oil painting style of “the harmonization of western and oriental styles” advocated by Lin Feng-Mian in 1920s and 1930s to form the basis of Dong Xi-Wen’s “The Chinese Style of the Oil Painting”. The second chapter elaborates the course of how Dong Xi-Wen created the oil painting which gradually fitted in his expectation, by the presentation of Dong Xi-Wen’s “The Chinese Style of the Oil Painting” His creation was both followed the art policy of politics as the authorities requested and the subject of Tibetans. The focus of third chapter is on the representative pieces in Dong Xi-Wen’s ultimate creation stage《The Song of the Himalayas》, and the comparison of paintings with Eastern doctrine in the 18th and 19th century and Dong Xi-Wen’s works in the subject of Tibetans. The view of “The Chinese Style of the Oil Painting” from artists of Mainland China in the latter half of the 20th century is also discussed in this chapter.
Dong Xi-Wen became famous in whole China by means of the work of 《A Grand Ceremony on National Day》 in 1952. It was found that most of research papers focus on the form, the subject of historical revolution, and the course of revision due to political intervention. However, Dong’s paintings in 1955 and 1962 that were completed in Tibet were not thoroughly discussed. It is hope that by means of this thesis, the attention to 《A Grand Ceremony on National Day》 can be transferred to his efforts on integration of eastern and western painting styles and research on other masterpieces. Furthermore, his spontaneous pursuit to Art hopes to be rediscovered and confirmed. | en_US |