On The Development Of Brush-ink Language And The Prosperity Of Landscape Painting During The Tang And Song Dynasties

From the perspective of the development of brush and ink,this dissertation explores the reasons for the prosperity of landscape painting during the Tang and Song dynasties.This paper not only makes a comprehensive arrangement and systematic explanation of the development and maturity of the landscape painting during the Tang and Song dynasties,but also discusses the language of brush and ink as a painting technique,whose evolution has played an important role in the development of landscape painting.Moreover,this paper analyzes the rule of development and vitality of brush and ink as an independent form of art.This dissertation is mainly divided into six parts.In the first chapter,this dissertation analyzes the evolution of landscape painting during the Tang and Song Dynasties,the development from “painting landscape” to “landscape painting”,the transition of technical application from “blue-and-green” to “water-ink”,and the evolution of aesthetic taste from “the divine class(Shenpin)” to “the i class(Yipin,leisurely and extraordinary)”.In the second chapter,the technical richness of “integrating Chinese calligraphic skills into traditional painting” has a great influence on the development of brushwork techniques of landscape painting.Firstly,I discuss the intensity of brushstrokes in calligraphy,the turn of the tip of the brush,and the arrangement,layout,sequence and rhythm in composition,rhythm and rhythmic aesthetics,the open-together and rise-fall(kaiheqifu)of the calligraphy have some influence on the development of landscape painting.Secondly,I analyze the development of the concept “the homology of calligraphy and painting(shuhuatongyuan)”.Zhang Yanyuan paid special emphasis on the concept “the same origin of calligraphy and painting” in his theory of painting.This is the result of the aesthetic tendencies of that era.In the third chapter,the formation of the concept of “five shades of ink” and the evolution of the technique of ink has a deep influence on the technique of the application of ink in the landscape painting.First of all,the formation of the awareness of the integration of water into ink is discussed in this dissertation,and the attempt,development and maturity of the Pomo method(splash ink)and the Xuandan method(light washes)under this awareness.Secondly,the psychological construction of “five shades of ink” during the Tang and Song Dynasties is discussed in this dissertation.Therefore,in this period,the main trend of “faint traces of water in wash painting(shuiyunmozhang)” gradually replaced “rendering with heavy color(zhongcaixuanlan)” of the landscape painting.In the fourth chapter,this dissertation analyzes the influence of the perfection of the aesthetic consciousness of “distance” on the spatial construction of landscape painting during the Tang and Song Dynasties.Firstly,this paper analyzes the formation of the aesthetic consciousness of “distance”.Secondly,this paper explores the application of brushwork,dot and line,the layout of proper placing and disposition,the contrast between the actual situation and density,which are not only embodied the sense of space,but also a kind of artistic conception of “distance”.Furthermore,the theory of “the plainness of landscape painting brings forth stylistic charm and appeal” and “three distances(sanyuan)” are the embodiment of the profound influence of Chinese traditional culture on the art of painting,and also the process of our mind's longing for finding the spiritual sustenance and transcendence in the landscape painting.In the fifth chapter,this dissertation discusses the formation of the way of appreciating the brushwork has made the landscape painting flourished.First of all,the author holds the opinions that the language of brushstroke is a way of reflection from the depth of heart that is extracted and purified to the extreme,which will purify all the life movements and calm down all the transitory things so as to find a regular and eternal form of language to represent things and objects.Secondly,this dissertation explores the influence of the technique of brushstrokes on the forms of painting,the expression of color,the layout of the painting and the formation of the idea of painting.In the last chapter,which is the summary of this dissertation,the author elaborates on the development during the Tang and Song Dynasties enriches the techniques of landscape painting,promoting the visual effect of landscape painting,establishing the order of the aesthetic value of landscape painting,and the way of natural reflection of landscape painting came to maturity.this topicalso has the significance of enlightenment and reference for the development of modern landscape painting.In this dissertation,the author hopes to analyze and clarify all the above-mentioned aspects so as to explore the active life elements and Kunstwollen(Art will)deep inside the kernel of the classical civilization and art and look forward to a brighter future of landscape painting.