Research On The Relationship Between Artisans And Painters In The Ming And Qing Dynasties

At the beginning of the Ming Dynasty,the popularity of aesthetics from top to bottom covered the society at that time,which originated from the aesthetic taste of the rulers.By the mid-Ming Dynasty,the relationship between literati painters and craftsmen was Interacting with each other,and the trend of literati culture appeared.Their interaction reflects the development of art history.The reason why it is called undercurrent is that it is not valued by art historians,but the issue to be discussed in this paper.These problems include the relationship between painters and craftsmen,the relationship between works of art and painting,and so on.From the beginning of the Ming Dynasty,Shen Zhou's attention to painters'paintings shows that there was a certain connection between literati painters and craftsmen.Of course,the more obvious is the cooperation between Wen Zhengming and Qiu Ying,which promotes their acceptance of craftsmen's interest.It is the interaction between Wen Zhengming and Qiu Ying that influences their painting styles.The interaction between craftsmen and painters has become the driving force for the development of works of art,which is reflected in the interaction between bamboo workers and painters,the cooperation between printmakers and painters,and between literati painters and ironworkers.Art works have undergone subtle changes in the interaction between craftsmen and painters.The painter's identity also changed in the Ming and Qing Dynasties.It was a phenomenon in the art history that the craftsmen's identity changed into the painter's.Dai Jin,Qiu Ying in the Ming Dynasty and Qi Baishi in the late Qing Dynasty were typical examples.Of course,in addition to these masters,there are also Huayan,Chen Zihe and others.The transformation of identity has a subtle influence on the development of painting style and genre.The relationship between craftsmen and painters not only exists in cooperation and transformation,integration and penetration,but also the nourishment that literati painters receive in cooperation with craftsmen.Chinese traditional writing brush,ink,paper and inkstone play a unique role in history.The relationship between brushwork and painter is embodied in the painter's admiration of brushwork technology,which is based on technical materials.In the field of ink making,the interaction between ink workers and painters is reflected in the cooperation of technology.More is from the painter's unilateral preference for paper skills between paper workers and painters.The relationship between inkstone workers and painters reflects the unified aesthetic interest of inkstone making.Aesthetically,there should be a certain gap between craftsmen and literati painters.However,in the Ming and Qing Dynasties,craftsmen and literati painters achieved the consistency.Both them believed that ancient elegance was the aesthetic standard they pursued.Another phenomenon is reflected in the aesthetic trend of refined and popular appreciation in the middle and late Qing Dynasty.The aesthetic convergence between craftsmen and painters also marks the historical fact that craftsmen are literati,in which painters also absorbed the charm of the artistic works created by craftsmen in the interaction,and applied it to the creation of painting.The development of art history can not be separated from the interaction between craftsmen and painters,as well as the transformation of identity between painters and craftsmen.