The market economy reform, which began in China in the 1990s, changed people’s lifestyle, brought them freedom and diversity. It inevitably gave an impetus to the development of painting in the country of the new era. Thematic paintings were wide-spread in visual arts, which contributed to renewal of painting. Artists were greatly attracted by the Tibetan regions at the source of the Yellow River and tried to convey the spirit, rituals, and national costumes of its inhabitants. They depicted the sacred beauty of the plateau on their canvas, spread the values typical for the area at the source of the Yellow River throughout the country showing the beauty of the Tibetan people to the whole world.

With the rapid development of industry and economy, the problem of ozone (O 3) pollution in China is of increasing concern in recent years. The problem of ozone pollution has become worse in Baicheng City which belongs to the province of Jilin. We analyze the spatial and temporal distribution of surface ozone and its correlation with precursors and meteorological factors during 2015 and 2019 using data from the automatic Atmospheric Environmental Quality Monitoring Station located in Baicheng. Results showed that the daily and monthly mean values of O 3 concentration were both single-peak patterns, and interannual variation presented a inverted 'V' pattern in Baicheng. The high concentration of O 3 in a year generally occurs from May to July, with the highest daily concentration occurring in the afternoon. The total number of days with O 3 concentration exceeding the limits was 35 days from 2015 to 2019, among which the number of days exceeding the maximal daily average eight-hour (MDA8) O 3 of 100 lg/m 3 was the highest in 2018, and the 90th percentile MDA8 showed an overall growth pattern. Seasonal variations in O 3 concentration in 2018 and 2019 were not consistent with the three previous years.

The Tibetan regions at the source of the Yellow River have recently become a new platform for painters which made it possible to convey the spirit, rituals, and national costumes of the people. Artists of the 21st century refl ect the humanistic beauty of the customs of the people of Tibet, their religious Buddhist beliefs, the values of the people living at the source of the main river of China. The authors analyze the colorful palette and other artistic means which allow such masters in China as Yang Feiyun, Lu Qinglong, Yu Xiaodong, Liu Xiaodong convey the world perception of the Tibetan people, their harmonious coexistence with the harsh nature of the region.

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