In the contemporary artistic context intertwined with globalization and cultural diversity

comprehensive material painting

with its open material language and innovative expression forms

has become a highly dynamic art category in Chinese contemporary art. Since its introduction into China

this art form has gone through a developmental process from imitation and reference

independent exploration to localized construction

gradually breaking away from the constraints of Western modernist artistic paradigms

taking root in the soil of fine traditional Chinese culture

and constructing an aesthetic system with Chinese cultural characteristics. However

in the process of rapid development

comprehensive material painting is confronted with crises such as vague aesthetic cognition

lack of cultural connotation

prevalence of formalism

and chaotic aesthetic standards. From three dimensions—the return of traditional aesthetic spirit

the innovation of local material language

and the innovation and expansion of aesthetic connotation—this paper sorts out the path of localized aesthetic construction of comprehensive material painting

analyzes its current aesthetic deficiencies and creative dilemmas

and puts forward strategies for reconstructing a localized contemporary aesthetic system. It is hoped that this will help Chinese comprehensive material painting break through development bottlenecks and demonstrate Chinese cultural spirit and aesthetic value in the global artistic pattern.