History And Imagination

From the status of the study of art history at present, we should as soon as possible dilute the subjective value judgment and analysis and study the previous exposition as objective as possible, and review the materials that we are familiar with. Landscape paintings in Jin and Tang Dynasty from the "gradient attached" to forming an independent branch have made great achievements in the theory of painting and image, but because the mark is destroyed and the style of historical records are unknown recorded, the study and research of Jin and Tang Dynasty landscape paintings is hindered. Of course, this paper not only studies the landscape paintings and the related historical materials of Jin and Tang Dynasty, but also includes the related historical data, which contains five generations:Song, Yuan, Ming, Qing Dynasties painting history, painting theories, paintings and other related literature which tells and analyses about the landscape painting of Jin and Tang Dynasty, making the later copy and imitate the Jin Tang landscape painting images etc.This paper makes a textual research, analyze and interpretation about the landscape painting theories and images those are from the Eastern Jin to the late Tang period and corrects theatrical constructions of the later theorists, seeking the origin, searching for the landscape painting style and language form in the Jin and Tang Dynasties. Meanwhile, I regard landscape painting style of Jin and Tang Dynasty as Longitude, making the understanding of which consists of Song, Yuan, Ming, and Qing Dynasties for weft. Then one by one I analyses the construction and remodeling of the landscape painting history in every dynasty to seek for the mainstream ideology and the basis and explore the source of branch of thought. According to these as the main reference, I compare the differences and similarities among Song, Yuan, Ming and Qing Dynasties documentary records and images analysis of primary form inherited, renovation and transformation. I try to analyze evolution course of the thought of the people thinking about Jin and Tang landscape paintings. Through the discrimination of the literature and image which is related to Jin and Tang landscape paintings I try to construct a Archetype model of Jin and Tang Dynasty landscape painting then to discusses the style and language features, as well as the logic relation between later remodeling and its original style.The research on landscape painting style and remodeling of Jin and Tang Dynasty is actually paying attention to the posterity to make a research and development for the landscape painting style of Jin and Tang Dynasty. This view of thinking and analysis is based on the evolution of the painting style and language forming, comparing with the painting style of Jin and Tang Dynasty to seek the historical development of it and evolution course of the conception. It is not separated painting style and language forming but regarded them as reconstruction.History is the process of construction. The right of discourse will last, and the history in different times will change with the changing discourse power, so are the landscape paintings of Jin and Tang Dynasty in the later of cognition. Different theorists and artists reshape historical Archetype in each time, but a remodeling is based on the previous understanding remodeling, which is contained direct remodeling. The evolution and development, which is repeated remodeling and gradual and complex evolution reshape,build up a complex, changeable repeated reshaping history. This understanding of history is not the predecessors’ history but the history of the descendants understanding the previous. Meanwhile, the lasers’ imagination form a history which is not the history of Tang Dynasty landscape paintings themselves but the history of laters’ reorganizations of Tang Dynasty landscape paintings.