IEFInternational Education Forum3083-49022981-8605Bio-Byword Scientific Publishing Pty. Ltd.10.26689/IEF.v4i10.16081ArticleComposite Media Painting in the New Era: Development Trajectory, Creative Methodology Innovation, and the Case of Northeastern Regional Practicehttps://artdesignp.com/journal/IEF/4/10/10.26689/IEF.v4i10.16081DingZichen20264102026-11-11Composite media painting is a highly representative emerging art form in the transformation of contemporary Chinese easel art. Since its introduction into China in the 1980s, it has evolved through three stages—imitation and borrowing, integration and transformation, and independent innovation—gradually developing into a contemporary art system that is cross-media, cross-genre, concept-oriented, and responsive to the times. In the context of the New Era, driven by technological iteration, the upgrading of ecological concepts, and the awakening of indigenous cultural consciousness, the creative logic of composite media painting has undergone profound changes: it has broken through the superficial creative model of “piling up materials and splicing techniques,” and achieved systematic innovation across conceptual cognition, material ethics, technological intervention, cultural translation, and epochal paradigms. Meanwhile, regional cultural contexts profoundly shape the linguistic temperament and aesthetic form of composite media painting. Rooted in the unique natural environment, revolutionary history, and industrial cultural heritage of Northeast China, northeastern composite media painting has developed a regional artistic style characterized by grandeur, simplicity, robustness, and openness, and has continuously accomplished disciplinary evolution and talent accumulation through the academy-based teaching system and projects funded by the National Arts Fund. By tracing the domestic development trajectory of composite media painting and systematically elaborating on the innovative dimensions of creative methodology in the New Era, this paper takes northeastern regional creation as a case study to analyze its regional aesthetic characteristics and academic inheritance pathways, with a view to providing theoretical reference for the localization, contemporaneity, and systematization of contemporary composite media painting.Composite media painting, New Era, Creative methodology, Regional culture, Contemporary art

[1] Cui B, 2022, Research on Contemporary Chinese Composite Media Painting, thesis, East China Normal University. https://doi.org/10.27149/d.cnki.ghdsu.2022.000717 [2] Hu W, 2021, The Form and Language Construction of Composite Media Painting. Chinese Art, 2021(2): 73–76. [3] Hu SP, Li Y, Liu Q, 2002, The Beauty of Textural Materials — On the Value Orientation of Texture in Composite Media Painting. Journal of Chaohu University, 2002(2): 53–55. [4] Li J, 2014, The Encounter of Materiality and Spiritual Contemplation — The Expansion and Artistic Presentation of Composite Painting Materials, thesis, Northeast Normal University. [5] Yu H, 2007, The Beauty Created by Materials: The Innovative Application of Materials in Composite Painting, thesis, Chongqing University. [6] Liu Q, 2007, The Comprehensive Application of Material Media and Individual Expression in Painting. Oriental Art, 2007(1): 122–129. [7] Ban FZ, Wang MQ, 2006, The Basic Attributes of Material Language in Composite Painting. Literature & Art Studies, 2006(9): 158–159.