In traditional painting， as the carrier of modeling and color， material has always been in the subordinate position and skill level， while playing an indirect technical and media role. Materials in the long history of painting in the continuous development， to modern art， it has been from the composition of the main elements of the painting jumped out， and eventually evolved into a direct material language. From modernism to today， modeling， color and material are the three main elements of painting language. The use of materials in painting is also increasingly free and varied.

1.The beauty of materials

Modern painting pays more attention to the beauty of the material itself. The material aesthetic sense of material itself derives mainly from its material attribute. Material attribute on the one hand， due to the nature of physical forms， such as sand， clay， stone， wood， leaves， metal， rubber， on the other hand from artificially manufactured goods， such as industrial products， digital products， handicrafts， daily necessities etc.. The physical properties of materials determine their characteristics， so that they have different shapes， materials， colors and textures. The material itself is the beauty through its unique shape， texture， color and texture are shown， such as rusty iron， mossy brick， yellow old newspapers， transparent glass and so on， these items contain a large number of years of natural beauty and traces， with people living in civilization the memory， they can inspire artists about the life of art， and create inner thinking works， more conducive to stimulate the viewer's emotion.

Through experiments and Research on the characteristics of materials， artists express different emotions in artistic creation. Since Duchamp put urinals into his art museum， the value of material itself has been changed by artists， which has changed the way people look at art. The process of creation can be said is the mining process of materials in comprehensive painting their own beauty， the elements of painting composition， color and texture etc. according to the form of beauty， comprehensive use of various materials and techniques， combined with a variety of integrated media， makes the paintings showing a rich and strong visual effect. However， if we simply pursue the material effect of expression， and leave the artistic thought， and simply for the material and the material， it is not a successful artistic creation， then the spirit and art of painting will not exist.

2. the performance of materials

The most important thing in comprehensive painting is to express the artistic connotation of material language. The artists express their artistic ideas for materials in the form of the carrier， reflect their own beauty and creation is given new life by artists， has become the cultural and spiritual connotation of art， and can find artists art idea， get the audience resonate， works to be given a new life.

Rauschenbergare creation "combination of painting"， let the real objects in the same space， construct the bridge of art and life. He was interested in the garbage and waste of city life， clothes， rags， newspapers， umbrellas， auto parts， and even sounds and smells that could be transformed into art by direct diversion under his hands. In the comprehensive materials in the creation of Paul Chris is a special artist， he studied since the middle ages， a variety of technical means and in painting， and combine it with watercolor and oil painting， with a unique visual language to create a mysterious charm of painting. The famous German artist Anselm Kiefer's concept of art based on profound historical context and social reflection， his works， his narrative material into fragments， displayed their memory material function and material properties， the value and significance to further strengthen. Reflects the World War II Germans on the war， a deep reflection on history.

When the artist chooses the material carrier to express his inner feelings and convey his artistic thoughts， the inner life connotation of the material often builds the bridge between the creator and the audience， and then resonates. At this time， the role of painting material is not only through its external characteristics to enrich and modify the external expression of the work， but more importantly， people through the material implied meaning of emotion， to rebuild the life of the works. The material properties are also some hint of natural law： an irresistible， Kurong's birth and death. Therefore， the life of the material language has psychological synaesthesia effect， such as life and death， joy and sorrow， vitality and boring and so on； if the leaves give people a sense of vitality and vigor， leaves give people a desolate， the feeling of death， the stained glass will give people a sense of luxury. When the inner spiritual inner emotion of the artist and material to produce condensation point， comprehensive painting full of charm can most incisive play， the audience into painting in the aesthetic process， thought， emotion and life experience.

The life connotation of material art language and the artist's thought and audience's life experience are mutually dependent on the three， and the three are embraced.

作者簡介：郭維維（1992.01—），男，漢族，籍貫：山東濰坊，齊魯工業(yè)大學(xué)，15級在讀研究生，碩士學(xué)位，專業(yè)：美術(shù)，研究方向：綜合繪畫。