Study Of Traditional Chinese Static Paintings

Traditional Chinese Static Paintings is a special category of subject matter that exists independently within the framework of Chinese painting history,which takes those playful,ornamental,static and moveable objects in close contact with daily life as aesthetic targets.On the ideological and philosophical level,it is presented as the static beauty of things,the material sentiment,the emotions expressed through describing concrete objects,and the metaphorical visual art language form.Taking the static painting as the core topic,using the empirical analysis of the works and the method of interdisciplinary cross-cutting,combing the historical development of static paintings in China and the aesthetic dimension throughout the rheological process from the technical level to the ontological structural principle,this paper aims to demonstrate the traits of the beauty of material,decoration and life as well as the mutual relationship between materialization of the beauty of static objects and aestheticization of daily life.This paper is divided into four chapters:The first chapter defines the concept of Traditional Chinese Static Paintings.The concept of "object" is too broad,so it is necessary to define the research scope of "material" by defining the existence of "object".Through the comparative analysis of static and dynamic,writing and sketching,and the “things”,the physical properties of objects,and the materialized images of “materials” involved in the static writing,this chapter is to clarify the scope of research on “objects” in this paper.The second chapter is the historical track of static painting in China.From the perspective of history,this chapter intends to demonstrate the unique coherent historical context of static paintings in China.In the ancient part,the chapter mainly focuses on unearthed mural paintings of ancient sites,tomb mural paintings,and paintings passed down from the Song Dynasty.It also arranges and discusses the works in the three historical periods of modern,modern and contemporary.Through the combing and integration of Traditional Chinese Static Paintingss of at various historical stages,the chapter is aimed at clarifying the time characteristics of the works,the transformation of concepts and presentations,the relationship between inheritance and reforming under the influence of different times,and studying the unique development of the static paintings under the framework of the history of Chinese painting.The third chapter classifies and discusses the performance and structure of Traditional Chinese Static Paintingss in different historical periods,and analyzes the representative works.In terms of the content of the work,the “substance” that expresses different attributes is divided into two parts: natural objects and man-made objects.Among them,the works of fruits and vegetables,flowers,and crops are summed up in the scope of natural objects;the playful objects,furnishings,four treasures of the study,instrument,paintings,clothing,life tools and weapons etc.are summed up in the scope of man-made objects.In the aspect of the structure of the works,the chapter studies the structural forms of Traditional Chinese Static Paintingss in different historical periods,analyzes the composition of the three important elements of the layout,the lightness structure,and the color structure of the works so as to explore the uniqueness of the structure of static painting and its effects.The fourth chapter is the analysis of the aesthetic dimensions of Traditional Chinese Static Paintingss,mainly from the three aspects of people,pictures and cultural atmosphere to study the aesthetic process of static painting in China.First,confirming that people's aesthetic consciousness is the dominant factor influencing the aesthetic orientation of Traditional Chinese Static Paintings paintings,through the analysis of the aesthetic consciousness of the creation subjects and the aesthetic needs of the receiving group,the chapter explores the internal driving force of Traditional Chinese Static Paintings development.Second,the chapter is to study the deep philosophical connotations through the internal motivation determining the appearance of Traditional Chinese Static Paintingss.Third,it intends to study the convergence of Traditional Chinese Static Paintings,the aesthetics of life and the chanting literature.In conclusion,the purpose of this paper is to analyze the content and structural form of its artistic works,and to explore its causes,aesthetic dimensions,and the significance of times by combing the history of static paintings in China.The objective of this paper is not for the classification of static paintings in the history of Chinese painting,but rather to add a bit of vitality to the history of the development of Chinese painting.