The Humanities Opportunity Of LiTang's Transformation Of Painting Style

Originated in the Six Dynasty, Chinese landscape painting has experience its booming time in the Tang Dynasty and Five Dynasties and got its maturity during the Song Dynasty.Wang Sizhen has once said: "The style of Chinese landscape painting was changed by the Great General Lee and Xiao Lee,and Jing guan dong ju,and it was changed again by Liu Li Ma Xia...." The change of Li, Liu, Ma, Xia is actually the change of the style of Li Tang's landscape painting. While Li Tang plays the central role in this change, all the essential motives are exposed on him. The painters, Liu, Ma, and Xia are the followers of Li Tang, and they more or less maintained the change of Li Tang's style.Every change would own its special causes, and Li Tang's style change is not exceptional. This thesis aims to discuss the humanistic motives behind the change of Li Tang's style. The first chapter generalizes Li Tang's whole life, which forms the basic construction of the research into his painting experience. The second chapter describes his background and his personal experience, which is the outer environment. The third one invites a comparative perspective, researching his humanistic environment in order to further explore Li Tang's core spirit, and find out the ultimate elements stimulating this change. In other words, we want to know the change of Li Tang's aesthetic spirit under the humanistic background of a transient period,and then refer to Li's works as an echo to those elements. In the final chapter, some pictures are exhibited so as to talk about the detailed process and result of Li Tang's change, as well as his achievement and influence in Chinese landscape painting.It's a comparative research from the external into the internal elements to explore the motives of Li Tang's style change, basing on the transient period of his humanistic environment. When we enter into a certain historical environment, we can understand more about the causes forming the styles of each painting school, and it can pave our roads toward our research in landscape theories and practises in the future.