Tahitian Aesthetic Model and its Influence on the Self-Colonization of Contemporary Chinese Painting

Abstract

The thinking framework formed by Gauguin during his creation on Tahiti Island in the 19th century has been transformed into the "Tahitian aesthetic model" for defining non-western local aesthetics in the current cultural context. This aesthetic model not only conforms to the subjective speculation of postcolonial concepts on the aesthetic value of contemporary Chinese painting, but also promotes relevant artists to change the spiritual connotation behind their visual language with a "voluntary attitude" through self-colonization phenomena, then reflects and verifies the rationality of this aesthetic model through creative practice. Through the overall definition of Tahitian aesthetic model, researcher would interpret the external appearance of self-colonial tendency in the context of the contemporary Chinese aesthetics, treat representative artists and their paintings as research samples, then analyze and feedback the basic aesthetic framework of this model in the creation practice of Chinese contemporary painting. By dividing its internal characteristics and summarizing related topical discussions, researcher would elaborate on the postcolonial status of contemporary Chinese painting under Tahitian aesthetic model influence, explore the cultural orientation of self-colonization phenomena in specific creative practices, then evaluate the development trend of this model in the current cultural context. Based on this, researcher would evaluate the cultural image of contemporary Chinese painting under Tahitian aesthetic model, reveal the actual impact and cultural significance of the postcolonial concept and self-colonization phenomenon behind this model in Chinese contemporary aesthetic ecology, then provide a reference basis for the future independent development and the modernization transformation of Chinese spiritual connotations.