On Developing Aesthetics Of Vividness And Bold Outline In Traditional Chinese Painting

Featuring the modern style, the modern Chinese painting agrees with the aesthetics of the contemporary generation. The developments of the art history reveals that the development of the different art styles to the establishment of the artistic value are impressed in painting aesthetics, and these styles result in various artistic questions. The study of this development should be focused not only on the artists and their works in a specific period, but on their painting aesthetics. Therefore, through the profound research of the Vividness and Bold Outline in Traditional Chinese Painting, the development of the art style is analyzed and the art spirit of the traditional Chinese Painting is generally presented.Theory of vividness first expressed by Gu Kaizhi from the East Jin Dynasty believed that the portraits of the characters in paintings should resemble not only their appearances, but true- to-life spirits. After Gu, another artist Zong Bing asserted in his Preface to Landscape Painting that from theory of vividness, the portraits should be presented with the spirit of unrestraint, namely, freeing the artists from mainly imitating the natural objects, and this had a great impact on the following landscape painting style. During South Qi Period, Xie He, an artist, again developed the theory of vividness, and put forward a theory of Six Methods which emphasized the objective subjects. Finally, Yiao Zui brought up his idea that the objective feelings would be expressed through stressing the subjective feelings. Thus, the appearance and the spirit are presented through the objective and subjective study of the painting aesthetics.Imagery, a concept in literature and art history, existed early sometime, while in Tang Dynasty, paintings stressed the expression of the subject consciousness, and made imagery free from appearance the final target of the art, which gave weight to the imagery aesthetics values. In Song Dynasty appeared scholar's paintings, and quite a few men of letters put forward their own painting aesthetics. In them, paintings portraying consciousness instead of appearance by Ouyang Xiu, and paintings resembling appearance by Su Shi made great contributions to theory of imagery and scholar's paintings in Song and Yuan Dynasties.