| The portrait of both Ming and Qing dynasties,whose artistic form continued the style of the former generations’ portrait,was eclectic and formed gradually a diversified style with characteristics of times under the influence of many external factors.Past academic circle paid more attention to prosperous surface of both Ming and Qing dynasties’ portraits,ignored intrinsic factors which could bring both richness and vitality,moreover the portrait art form of different classes specifically changed according to different periods,which would be studied in the paper.Through research,the thesis compares between the Ming and Qing Dynasties portraits of representative works of schemata and the text,schema and schema,based on a large number of master of Ming and Qing Dynasties portrait image and background are introduced,according to the service object class(horizontal)and time(longitudinal)is not the same,change of the artistic form of expression analysis a portrait of the Ming and Qing Dynasties,found in the process of changing from the artistic expression,to inherit the traditional ink as the foundation,always adhere to the essence of traditional China portrait,in the lapse of time,constantly updated,looking for its evolution,forms the aesthetic consciousness of the class.The artistic characteristics of any age and any category are mostly carried by the mainstream school of the times,and the artistic features of the main schools are in the final analysis represented by the main representatives of this school.The portraits of Ming and Qing Dynasties show typical strata,schools and prominent features in each particular historical period.The portraits of Ming and Qing Dynasties show typical strata,schools and prominent features in each particular historical period.Therefore,according to the different service object class for the court portraits,portraits of literati,portraits of the common people.The three are not independent individuals,but represent the specific state of the art of portrait painting in Ming and Qing dynasties.The landing of foreign painters missionaries during late Ming and early Qing Dynasty accelerated the development and reform of Chinese portrait paintings,which at that time was brewing for changes.Their ways of painting enriched the traditional brushwork techniques of Chinese portrait paintings.They exerted notable influence over the two traditional brushwork techniques,namely ink sketching and color applying.This paper focuses on the study of the Ming and Qing Dynasties,including portraits of emperors or king portraits,court dress portraits,ancestor portraits and sage portraits as well as a detailed study on the major mainstream schools,is also bound by mainstream school and the representative of the Ming and Qing Dynasty portrait and the typical case and relevant facts and theory,aiming at the lack of academic research,to explore the unique aesthetic value and portrait the painting from a neglected perspective,especially the thorough analysis from belonging to the lower social people will affect the portrait,physiognomy,secret to the portrait and the facial icon changes comb,so as to better and more comprehensive assessment of the Ming and Qing Dynasties portraits art forms of the transformation form and value.In the Ming and Qing Dynasties,the portrait paintings were eclectic and developed under special historical conditions,and laid a solid groundwork for the revival of Chinese figure painting in the twentieth Century and for the exchange of Chinese and Western cultures.China portrait as a pilot of the cultural fusion,resulting in a series of innovation activities,is a huge turning point China painting history,it indicates that the classical form Chinese painting is coming to an end,meaningful and long.Therefore,through the study of the art form of the portrait of the Ming and Qing Dynasties,the author hopes to provide some reference and reference for scholars studying and painting study in the Ming and Qing dynasties. |
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