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This article is about the appreciation of contemporary Chinese imagery oil paintings in Henan Province, and the researcher has chosen the work "Fishing in the twilight" by Li Mingwei, a painter from Henan Province, China, as the object of discussion. This work is analysed in terms of formalism, as well as being studied in terms of the concepts of culture and imagery. The objective of the research is to identify the subject and analyse the art form in the work “Fishing in the twilight” and to explain the connection between formalism in the art of painting through socio-cultural systems and the concept of imagery. The methodology for collecting written and visual data in this study utilised a descriptive qualitative approach based on empirical fieldwork. Documentation, visual records and observation methods were used to gather information relating to the painting under study. According to the results of the research, Li Mingwei's work "Fishing in the twilight" is an expression of the application of traditional Chinese cultural elements and the concept of imagery to art in oil paintings. The concept used in the research is the basis for the formation of the imagery oil painting, which is analysed using a combination of formalism, concept of imagery and cultural significance. The implications of the research suggest that contemporary Chinese oil paintings from Henan Province cannot be viewed only from the formalist perspective of art, but also through the cultural contexts and the imagery features produced in the works. This study contributes to the understanding of the meaning, concept and aim of design utilized by contemporary Chinese artists in shaping the image of their paintings.
Hanchena et al. (Sat,) studied this question.