| Summary: | 碩士 === 國立成功大學 === 藝術研究所 === 98 === This article conducts a study on Lin Fengmian’s Shanshui-Landscape Painting. In the context of artistic history and by the analysis of Shanshui-Landscape Painting, it will discuss their inspiration and creation onto Chinese Painting Modernity, so as to demonstrate the significance and achievement of theories and practice of the merged Chinese and Western arts in this kind of works. This article will discuss Lin Fengmian’s Shanshui-Landscape Painting of various subject matters in two tiers. In the first tier, it will mainly discuss the merger of the Chinese and Western paintings in form, as well as the modernization of stylized expressions of Chinese Painting. In the second tier, it will take the external presentation of investigation in form to explore the significance of Chinese Painting Modernity, which will finally return to the connotation of Chinese Painting characteristics. This article attempts to exposit that during the exploration of Chinese Painting Modernity in the 20th century, Lin Fengmian’s integrated Chinese and Western arts is based on the unique stylized expressions of Chinese painting, merging the forms of Western modern painting at the turn of the 20th century to illustrate Western modern painting from a new visual view, which is distinct from the traditional Chinese painting, and also reinterprets the planarity of paintings and presents the Lyric and Artistic Conception like Poetic sentiment. Moreover, Mr. Lin doesn’t only coordinate the forms of Chinese and Western paintings, but also merge the connotation of the two. This kind of merger is originated from his voluntary and artistic autonomy towards the times, so as to break through stylized expressions of traditional Chinese Painting, and further subvert self-balanced and coordinated characteristics. It provides new possibility for the diversified creation of contemporary Chinese Painting.
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