A Study On The Paintings About Gaoshi In The Song Dynasty

The research object of this thesis is "The Paintings of Gaoshi in the North and South Song Dynasties".The concept itself includes a specific historical situation and a moral and political examination of the painting objects.In this thesis,the two internal clues of "Overtness" and "Covertness" are used to control the whole article,and it is believed that the paintings on the subject of Gaoshi in the Song Dynasties not only developed along the line of "Overtness",that is,the dual orientation of imperial court and jianghu in Gaoshi’s own definition;but aslo the line of "Covertness",that is,the gradual integration of Gaoshi’s images and landscapes in the Song Dynasties.Through image interpretation and formal analysis,the Gaoshi-themed paintings in the Song Dynasties can be classified into three types according to their themes and forms of expression.The first is to describe the appearance of Gaoshi such that the portrait paintings of Gaoshi whose name can be recognized by pictures.It can be roughly divided into two categories: portraits of Gaoshi in imperial court and portraits of Gaoshi in jianghu.The painters of the portraits of Gaoshi in imperial court of the Song Dynasties descended from governors to ordinary scholars.The governors painted heroic figures in the imperial court to show their virtues,while ordinary scholars painted portraits of Gaoshi to worship the deceased in the temple,and to enshrine the contemporary worthy ministers in the shrine.The portraits of Gaoshi in imperial court are generally displayed in public spaces.This "image for sacrifice" is not only a political metaphor,but also an important social and cultural form and a medium for public expression.The relationship between the sponser,the owner and the painter of the portraits of Jianghu Gaoshi is biased towards private interaction,and private image production and display.The breakthrough of this kind of creation lies in the pursuit of the expression of personal emotions and poetic expression,which is self-entertaining.The second is to describe the Gaoshi activities and contacts,and draw a picture of Gaoshi activities to record their grand occasions.It can also be divided into two directions: contacts of Gaoshi in imperial court and contacts of Gaoshi in jianghu.Most of the pictures of Gaoshi’s tours in imperial court were made by court painters,carrying the emperor’s aesthetic concept and authoritative will.Through the configuration of symbols,it evolves into a ritualized routine,creating the classic image of Gaoshi in the imperial court.It not only helps the governors to demonstrate the merits of the prosperous and worthy ministers,but also shows the political subject consciousness of the scholars who pursued high positions.They are display-oriented pictures.The pictures of Gaoshi’s tours in jianghu weaken the sense of hierarchy and order,and instead emphasize the harmony between Gaoshi and nature,self-awareness,and also conform the secularization tendency of the Song Dynasties.They are experience-oriented pictures.The third is to conform to the times and integrate with landscapes,and eventually evolve into Gaoshi’s scenic spots that can be used for landscape paintings.Under the external inducement of the division of paintings and the internal drive of the literati and the painters,the integration of Gaoshi’s images and landscapes has become inevitable.In the process of restricting and poeticizing the imagery of Gaoshi’s images,the iconographic features begin to be lost and become symbolic.The various topics that Gaoshi produced in the historical shaping in the painting were either transformed into images or used as annotations for the background of the images.Under the special historical politics of the Song Dynasties,they were interpreted by literati as "Gaoshi’s argot".This constitutes a system of Gaoshi-themed painting that has influenced later generations,and also establishes an important part of the historical evolution of Gaoshi-themed painting.As a specific theme painting,Gaoshi-themed painting is rooted in traditional Chinese culture,affects the relationship between ancient social structure and culture,and touches a deep social stratum.Finally,this thesis discusses the significance of the paintings of Gaoshi in the North and South Song Dynasties in terms of usage,painting history and history.