The Representation Of Costume In Ancient Chinese Scroll Figure Painting

Chinese costume have been changed greatly, from the rise of ancient time, every dynasty. The styles and forms are uncountable. Today the study of ancient Chinese costume is developed mainly through three ways, the literature, the relics and the image, which has strong point, and supports each other. Evidences of history reality have been offered through these ways.Ancient Chinese scroll painting, the main type of chinese fine art, is focused in this study. The scroll figure painting, having close relationship with dyed costume, is the core of the study.The representation of ancient Chinese scroll figure painting, involving costume history and fine arts, hasn’t been studied deeply. This is a cross-over area of two studies, waiting to be deeper studied.Moreover, the topic of ancient Chinese scroll figure painting is a study about the methodology of "proving history by image", and offers a new view-point to solve the difficulty of "image trap".The methods, modes, styles, characters, and relationship between representation and costume contents have been studied, through comprehensive observation on the representation of ancient Chinese scroll figure painting. Consultation and reference for costume history and fine arts were promoted.The cross-sectional painters, works and their styles are also induced through comprehensive observation on the ancient Chinese scroll figure painting, and combination with the literature on painting of past dynasties and relics.The tipical representational modes are combined with the content of structures, patterns, colours and fabrics, etc. The lines, tips of writing brush, ways of rendering, texture feeling and third dimension of past dynasties are analyzed and concluded.The aesthetic conception, formal principle and evolvement of mode in the ancient Chinese scroll figure painting of each dynasty, from Weijin to Qing Dynasty, are anatomized as well, through the analysis of the relationship between the tipical representational skills with the content of costumee in the ancient scroll.The research productions of each dynasty are raised step by step through the analysis and argumentation from the appearance to the essence in the painting. At last, the main evolutive venation of the representation of the ancient Chinese scroll figure painting is summarized. Farther, the core issue which is "how the ancient Chinese painter representing costume" in the scroll figure painting is discussed, including the idiographic conformation of costumee, the effect of wearing, the relationship between the costume and figure, the degree, manner and charm of the main figure.The discussion from the view point of the representation of costumee of the ancient Chinese scroll figure painting, is inevitable for the research of fine arts history and costumee history, but not across-the-board.Based on the concept of the connection between dynasties, the inner relationship of continuation is opened out, through the analysis of the representational skills of costumee in the ancient Chinese scroll figure painting.The deep-seated cause of the emerge of the new representation of each dynasty is also analyzed, connected with the background of history society. Then the relationship between representional skills with the social politics, economy and culture of the time are discussed elementarily.The primary visage of costumee representation of losted ancient scroll figure paintings is ratiocinated reasonably. And a fairly idiographic image of it is also dipiced.The representational skills of lines named traditional Chinese "eighteen outlines" are deeply studied from the view point of costumee representation. The style of each outline is re-appointed to its name. The probable time of their emergence are ratiocinated too. The relationship between the outlines and costumee forms and textiles are opened out, and the developments of them in each dynasty are discussed.The charactors of painters representing costumees in the scroll of different dynasties are studied and opened out, through compared with relative costumee colours, patterns, structures, shapes, forms, etc.The essential distinction between "copy" and "creation" in the content and form is opened out, by compared the representation of costumee between different copies of handscolls of a same topic, which provides a frame of reference for discriminance of ancient figure paintings.The modes of representation of royal court painting of each dynasty are analysised all-sided, as well as their development. The tipical charactors of each phase and the influences to later dynasties are also discussed.The different status of literator painting of each dynastied after Northern Son Dynasy are studied to a certain degree. The tipical charactors and modes in the scroll figure paintings are researched carefully.The different status of portrait painting of each dynasty after Yuan Dynasy are observed comprehensively. The tipical charactors and modes in the scroll are researched carefully.The other topics of figure painting, such as beauty painting, historical story, genre painting, are also discussed primarily, according to the development of the representation of costumee each dynasties.The fact that the "Nushi Zhen" is the first painting which is represented with the structural line of "connecting sleeve line" in it is discovered.The important development that not until middle of Ming Dynasty did the full-face composition of a picture appear in the figure painting is discovered, because of the adhibition of scenography of Western.The form and the formalization of the mode of representation of costumee in the ancient Chinese scroll figure painting are discussed at a new angle.