A Poetic Of Research Ancient Landscape Painting Night Scene

This paper primarily explores the connotations and extensions of poetic creation in ancient Chinese landscape paintings of nocturnal scenes.It focuses on the relationship between ink style and poetic essence in Song Dynasty night scenes,and the composition and poetic spatial creation within these paintings,using these as points of reference to discuss the poetic characteristics and visual transformation and expression of artistic language in night scene depictions.This extends to the twilight and nocturnal landscapes of the Song Dynasty and their resonances.The author utilizes scattered historical materials and records,primarily basing the analysis on nearly 400 existing images of ancient nocturnal landscapes and recorded night scenes,seeking objective facts preserved in these paintings for precise image interpretation and analysis.The concept of night is defined and traced back to its origins,starting from ancient concepts of time and people’s beliefs,and exploring how ideas,customs,and cultural practices like moon worship ceremonies shaped the early forms of night imagery in art.After landscape painting became an independent genre,different artistic forms emerged due to the differing aesthetic pursuits between secular life and the literati lifestyle.Employing iconology and comparative studies of poetry and painting from literary and aesthetic perspectives,the paper analyzes poems and paintings that describe the natural evening and the poetic characteristics of numerous nocturnal poetic paintings,emphasizing the important role of poetic space in expressing the ambience of night scenes.Firstly,the paper categorizes ancient landscape paintings of night scenes by their ontology,broadly divided into periods before and after cultural self-awareness;the prosperous era of Tang and Song Dynasty painting;and the fully developed period of the Yuan,Ming,and Qing dynasties.It selects works relevant to the thesis to deeply analyze from the perspective of visual arts and imagery,the "poetic" characteristics expressed in artistic language,from image to imagination,from visual to psychological perception,and from association to the creation of atmosphere under twilight.Secondly,it analyzes from the temporal,ideological,and artistic language domains(literature and art),posing questions about how visual language matches the poetic space of night scenes.Night,being a poetically rich word,readily evokes associations similar to poetry,suitable for expressing emotions.Descriptions of night scenes in literature preceded those in painting,and their abundance in Tang poetry and Song lyrics helped make literature the mother theme of night scenes in landscape painting.The interaction between Song Dynasty painters and literati,and the emphasis on cultural cultivation in painting academies,strengthened the literati atmosphere of court painting and promoted the integration of poetry and painting.People with literati cultivation involved in painting and pursuing expression of meaning allowed landscape painting to provide spiritual comfort in the artistic life of the Song people and express their feelings through their brushes,leading to the flourishing of poem-painting creation.The integration of poetry and painting is manifested in the methods of making paintings from poems,inscribing poems on paintings,and capturing poetic intentions in landscapes.Lastly,the paper refines the keywords of the night scene’s atmosphere and categorizes the patterns of landscape paintings into three main types: the tranquil twilight,the serene eternal moonlit night,and the solemn rainy or snowy night.Using iconological methods and historical context,it focuses on the visual form and ink style of the Song Dynasty night landscapes,with the creation of night scene atmospheres as the main thread of research into the value and significance of poetic essence in ancient nocturnal landscape paintings.