The Research Of Xie Shichen’s Landscape Painting

Xie Shichen(1487-1567)was a distinctive landscape painter of the mid-Ming period,whose identity was extremely complex,featuring both the characteristics of a professional painter who made his living by selling his paintings,as well as the subtle and elegant feelings of a literati painter.The multiplicity of his identity was guided by the specific cultural environment and aesthetic tendency.During the Zhengde and Jiajing periods of the Ming Dynasty,social customs and cultural trends changed,and the ink and brushwork of landscape painting underwent great changes,which were fully reflected in Xie Shichen,who was characterised by two sides of the same coin.The silence of the Zhejiang School and the prosperity of the Wu School are the objective facts of the development of landscape painting in the middle of the Ming Dynasty,but the strong and powerful force shown in his landscape paintings is undoubtedly in harmony with the painting methods of the Zhejiang School.Multiple identities and many painting methods have shaped his rich and varied landscape paintings,making him of special research significance.Therefore,for Xie Shichen,who is the subject of the study,we place him in the specific cultural environment of the mid-Ming period and re-examine this landscape painter with many painting methods.On the basis of previous research results,this paper conducts a case study from the art ontology,and shifts the basis of the narrative from "painter" to "work".The whole paper focuses on his ink and brush language,chapter pattern and choice of subject matter,and discusses the reasons for the formation of his artistic creation,outlining the development of Xie Shichen’s paintings.First of all,this paper focuses on the painting style of Xie Shichen’s landscape paintings,in accordance with the works of the specific painting method as well as the characteristics of the ink and brush to clarify its main style,and then combined with relevant literature and reference to the traditional works of analysis and comparison,that he has two kinds of ink and brush techniques: a small axe chapped as the ink and brush performance formula;a gentle pima chapped as a combination of traces.Because of the different methods of ink and brushwork,two different aesthetic interests are formed accordingly.Secondly,from his creation of the format,a map corresponds to a section of the analysis method of the works of the chapter pattern elaboration,summed up from its "large hanging scroll" landscapes,to the "three-section" pattern and diagonal composition of the specific rules.This is a characteristic of Xie Shichen’s compositional style,which fully demonstrates the effects of two perspectives: strong and robust and warm and mellow.Thirdly,starting from the choice of subject matter for his landscape paintings,combined with his personal experience of creative practice,Xie Shichen analyses the images of his works in different periods and compiles the historical materials to elaborate the social culture and connotations behind his landscape paintings.Through an in-depth analysis of the many factors in the paintings,Xie Shichen,as the main subject,further explains his personal choice and aesthetic identity in the diverse cultural environment of the mid-Ming period.Finally,on the basis of this discussion,Xie Shichen’s landscape paintings are compared with the motives and mechanisms of his works and the artistic characteristics of his paintings to illustrate the formation of Xie Shichen’s landscape painting from the three dimensions of the intermingling of social and living environments to the differences in the regional characteristics of the north and south,and the diversified orientations of his creative methods.He also tries to further explore his interest in landscape,which is specifically expressed in the popularity of "focusing on realism" and the penetration of non-literary interest.In conclusion,on the basis of exploring Xie Shichen and the historical context of the mid-Ming period,this paper re-judges the problems and phenomena of this landscape painter in the specific cultural environment of the mid-Ming period.It places him in the course of the development of landscape painting in the mid-Ming period for an objective evaluation,so as to shed new light on the formation of his artistic creation of landscape painting.