The Study On YUN Schema And SHUI Schema In Ancient Chinese Landscape Painting

The philosophized and symbolic nature of Chinese landscape painting determines the way of its viewing and creating, which makes it more like a priori behavior. From conception to creating, the admiration to SHANSHUI and the impulse of self-express run through out the whole process. The schema of Chinese landscape painting,at this means, is not only a collection of image but also a reflection to the psychological construction based on the interaction of external nature and inner world. More than simple template combination of image, logic and principles used during the description to SHANSHUI world come as important as the image content itself.Schema content of YUN(cloud and sky) and SHUI(river system) mainly contain by one the transition of symbolic patterns to descriptive image, including "climax" semantic extension and transcendence of moire image and transformation of decorative wave pattern to diversiform moire image etc.And the other are the various forms of YUN and SHUI gradually derived during the mature process of SHANSHUI landscape painting,such as scrolling/band/vaporous shapes of clouds or wave/waterfall/blankness of river.Those delineate forms are regarded as the important factors of the organic SHANSHUI system, kept portrayed and remodeled during the improvement and deepening construction of subjective conception.Thirdly, multiple methods that used to portray cloud and river system such as delineation or blankness in drawing part,washing-ink skills, which both relate to the proficiency of carrier and tools.And finally,calligraphy arts also get evolved in catalyzing the interaction.These are the primary part of the schema.Another important part of the schema is about the conceptions when dealing with the factors and the organic system of landscape painting,including methods and rules.As it follows,first are the function and roles that YUN and SHUI playing in the construction of the space composition.Partition/combination/unification contributed by the Cloud-images functioning,versification and horizon of the SHANSHUIlandscape demarcated by the images of river system,are both concluded to the SHANSHUI concepts on viewing and recreating the external nature.Secondly positive contributions to the virtual image are also be mentioned.Implications with the floating clouds among the mountains,foggy and bandy mist permeating deeply into woods,even the blankness left to create the atmosphere both have the relation to polytheism and personalized properties of SHANSHUI landscape painting.The third is that,the operation form of YUN and SHUI images as factors of SHANSHUI landscape system factors,such as the aesthetic observation system of waters etc.These are the reflection of the valuable behaviors subordinated by the self-expression impulse of SHANSHUI landscape painting.Three points above will be mentioned as the deepening and extensive part of conceptions beyond the image content of YUN and SHUI schema in the thesisAccording to the flexible and mobile features of SHANSHUI landscape painting,the text structure of the thesis are including three sections like YUN,SHUI and multiple YUNSHUI.Section I and Section II focus on the two factors of SHANSHUI landscape system respectively, containing the image and concept contents.It will preceding by precondition,background analysis,rules illumination and typical works explanation.Image analysis base on the theory of Chinese painting art is the primary method of the research.The purpose of Section III is a consolidation of YUN and SHUI factors.It will focus on the multiple applying of delineation and blankness typically and categorically. At the same time,typical individual cases of bush-ink exploration in SHANSHUI painting has been extracted,for example influential ink experiments by Mi Fu and the junior, summarized mental structure“one river-two counter banks”of Ni Zan’s works etc.Section III is an overlook description of the system structure and essential properties.Appendixes containing YUN section and SHUI section extracted from the theory of the ancient Chinese painting are attached to the end of the thesis.