Research On The Gardening Painting’ Scenery Of Wu School In Ming Dynasty

Garden paintings came from landscape paintings,and developed to the prosperity of garden-themed paintings in the Ming Dynasty due to the prosperity of garden-building activities,especially painters of Wu School.Garden Painting of Wu School has made remarkable achievements in the history of Chinese arts.It has its own characteristics.For this reason,the academic circle has done a lot of research and fruitful results in the inheritance of its school,drawing materials and painting styles,the fashion of the times,and the influence of its significance.Garden painting of Wu School has both the construction of the physical environment and the rendering of the situation,as well as the construction of artistic conception,which highlights the characteristics of traditional Chinese painting.The integration of “three landscapes” in garden painting of Wu School is in accordance with the theory of Poetic style by Wang Changling,a poet of Tang Dynasty.This article takes garden painting of Wu School as the research object,and uses Wang Changling’s so-called “physical environment,situation and artistic conception” as the main structure to explore the artistic style of garden painting of Wu School in the Ming Dynasty.After explaining the topic selection basis,literature review,introduction and summary of research methods,and sublimation conclusion,the main body of the article is divided into five parts.The first chapter discusses many basic issues of garden painting of Wu School from three levels,including the origin and characteristics,the rise of garden painting of Wu School,and then the pursuit of artistic conception of garden painting of Wu School.Garden painting and garden construction are inseparable.Narrowly speaking,garden painting originated after garden construction.Broadly speaking,the framing,brushwork,composition and other elements of garden painting are reflected in earlier landscape painting.Garden painting has a close dialectical relationship with landscape painting and boundary painting.Garden painting originates from landscape painting,but has a unique art form and aesthetic characteristics.During the development of garden painting,the painting of Wu School developed in the middle and late Ming Dynasty and inherited its own style.The painting style was unique and had similar garden painting theories.It formed a large group of garden painting of Wu School.The representatives of this group are Shen Zhou,Wen Zhengming,Tang Yin,Qiu Ying,the famous “Four Ming Schools”.Garden painting developed rapidly in the middle and late Ming Dynasty,so it is no accident that Chinese garden painting became the pinnacle in the works of the painters of Wu School.On the one hand,the construction of private garden in the middle and late Ming dynasty was very popular.Scholars and gentlemen lived leisurely in the gardens and landscapes,and gathered in elegant party to express their aspirations with scenery.Not only that,garden paintings are more popular in the commodity market.In the era when the scholars,peasents,workers and merchant merged together,as a scholar,painters of Wu School themselves were also integrated into the market.Both garden paintings and painters of Wu School were sought after by the market,forming a demand for images of the times.On the other hand,with the continuous development of landscape painting and garden painting,painters of Wu School paid more attention to the creation of artistic conception in the Ming Dynasty,which formed a difference from the traditional palace paintings and formed their own characteristics.The second,third,and fourth chapters of the paper carry out an in-depth study of the artistic characteristics of garden paintings of Wu School based on the three types of physical environment,situation,and artistic conception of Wang Changling’s artistic conception in the Tang Dynasty.The second chapter starts with the landscape of the garden,and analyzes the painters of Wu School through the tour,observation and garden life of the landscape,using landscape painting techniques to frame and composition the landscape,depicting and coloring with bones,thereby expressing the unique landscape artistic conception of garden painting.It further reveals the different artistic conception of garden painting of Wu School in garden landscape depiction.Use landscape paintings to dominate the overall situation,and use the three-distance method to show the vividness of the picture and the realm of lofty,far-reaching,and remote;the artistic conception without painting is formed by the brushwork of ancient times and the freehand technique of transcendence.From the image expressing the spatial image of the three-distance method to the picturesque principle of garden site selection;from landscape design to the choice of form and spirit in the layout of garden management;from the bone method of landscape composition to the technique of gardening;analyze the artistic techniques such as composition,layout management,bone technique and pen use in the garden paintings of the Wu School of Painting,and use the technique of landscape construction to depict the scenery in the garden to show different sceneries such as leisure,tranquility,elegance and ease.The third chapter explores the emotional expressions expressed in the paintings of the Wu School painters in the paintings of the scenes.The emotional expressions of the external feelings,the internal emotions,and the affection to the objects,as well as the different scenes represented by the depiction of different scenes.On the one hand,when the painter depicts the leisure and elegance of the leisurely residence,he incorporates the aesthetics of the leisurely residence into the paintings,expressing vision and love for landscape.On the other hand,the garden,as one of the main places of the gathering,is a platform for gathering activities such as literary gatherings and tea parties.The painter portrays content such as wine tasting and tea boiling,expressing his aspirations and expressing his mood.Whether it is a leisurely life or a gathering of interests,one of the most important moods of the Wu School painters is to return to hermit.For this reason,figures such as “Geng Yin”,“Yu Yin” and even “Xian Yin” frequently appeared in Wu School garden paintings.The Wu School painter used the scenery to convey emotion and created a distant and simple picture space to reveal and clarify the symbolic meaning of the picture expressed in garden-themed paintings and the subjective sentiment of the painter,thereby achieving the blending of painting and garden.The fourth chapter reveals the essence of the integration of “scenery” and “mood” reflected in garden paintings of Wu School,which lies in the heart of Lin Quan,that is,the natural view of the unity of man and nature,the Confucian philosophy of “A wise man enjoys water and a benevolent man enjoys mountains”,the pursuit of the aesthetic ideal of the ancients’ sleepwalking,and the expression of admiration for painter talent,poetry and artistic conception.The wonderful realm of the garden,which can be visited,lived,appreciated,boarded,walked and stopped,can be displayed on the screen.The significance of this chapter is to conclude that the painter’s state of mind is the basis for the generation and sublimation of the artistic conception of garden painting,and it is the significance and value of the study of garden painting of Wu School.The fifth chapter analyzes the space concept of Chinese garden painting on the basis of exploring the dialectical relationship between garden and garden painting,compares the space concept of Chinese and Western garden painting,and summarizes the humanistic spirit of painters of Wu School “painting to carry Tao” from two aspects of life and following Tao,and then excavates the historical positioning and modernity of garden painting of Wu School.Compared with gardens to nature,garden painting is the second artistic creation based on gardens.Both have common aesthetic pursuits,but garden paintings have more artistic tension,which is shown as a breakthrough in space limitations.In the space construction of garden painting,the artist’s lifestyles such as idle living and elegant parties are reflected,and the artist’s spiritual interest and humanistic feelings are also shown.On the basis of inheriting landscape paintings,garden paintings of Wu School in Ming Dynasty created their own styles in the melting and casting of the physical environment,situation and artistic conception,leaving a strong stroke in the history of Chinese painting.Not only that,garden paintings of Wu School still show the value of modernity.Although Wang Changling’s so-called physical environment,situation,and artistic conception were originally aimed at the creation of poetry,they were the key to the study of garden paintings of Wu School in the Ming Dynasty.This article not only analyzes and explores the physical environment,situation and artistic conception of Wu School garden paintings to understand its historical positioning and artistic value more clearly,but also explores garden painting,Wu painting school,artistic conception creation,and artistic pursuit in the middle and late Ming Dynasty.Based on the exhaustive exploration of specific issues,we will advance the understanding of related issues.