On The Historical Development And Appreciative Significance Of Texturing Method Of Chinese Landscape Painting

Abstract: This paper chooses chinese landscape panting as its research object, because texturing method is a form of art language coming from the practice of landscape painters and it gradually becomes a complete system and had its specific values. With the development, of time, texturing method also embodies different appreciative features. It makes a wonderful basement for the development of chinese landscape painting from theory to practice. Therefore, it has an important significance to do research on texturing method of chinese landscape painting.This paper is devided into three parts:The first part will talk about meaning and history of texturing method. Actually, this method originates from the rock veins of nature. Its formation has a close relationship with geology. As to the antient development of texturing method, this paper will discuss the history of texturing method of landscape painting through the development of Fi Pi method and Pi Ma method.The second method will gradually discuss the cultural meaning and aesthetic connotation of texturing method of landscape painting. Firstly, from outside form, texturing method has the element of formative beauty as a specific form of stylization. The formative beauty of texturing method embodies in line beauty, dynamic beauty and skin texture beauty. Secondly, it is an outside embodiment of the appreciative image of artists from the perspective of aesthetic connotation.The third part will talk about the new development of expressive language of chinese landscape painters. Its expressive language presents a pluralistic development tendency, embodied by HuangBinhong, LiKeran and ShiLu. HuangBinhong uses Jie Suo method and Zhe Dai method to express the inside beauty of landscape; LiKeran breaks the old procedure of real description and try to find out the different stages of method through sketch from nature; as for ShiLu, he finds HuangTu plateau method at the bleak and desolate HuangTtu plateau and developes a new state to express true feelings. The aesthetic tendency of landscape painting in the twentieth century expresses vigorous and powerful artist features. Conclusion: We can draw a conclusion from its development and aesthetic connotation of chinese landscape painting: the innovation of formative language is an important part for the development of art, and is also an important part to innovating chinese painting. The innovation of art language of chinese landscape painting should use the experience of all different stages and countries for reference in order to improve the development of chinese landscape painting.