Research On Chinese Painting Tree

Through focusing on the image of trees in the earlier works first and analysing the large amount of collected resouses, this thesis trys to represent the clear sequence of the development of the tree drawing, i.e. from the admiration for the tree totems in the earlier works to the tree decorations in the mid-term architectures and the lacquer painting art, till the emergence of the tree drawing in the paintings during Wei Jin Northern and Southern Dynasties. And then on the basis of Abraham Maslow’s hierarchy of needs, I try to deminstrate that the formation of this sequence is primarily determined by the human needs, the level of which grows continuously and for which breakthroughs are made ceaselessly.The second part focuses on the study of the evolution of the tree drawing style after the formation of the landscape painting.The landscape painting had become an independent branch since Sui and Tang Dynasties, and then had gradually become the mainstream of the art. The development of it had also enriched the manifestation of the tree drawing. In general, the tree drawing has went through transformations for three times. The first time is the comparatively delicate blue-green drawing-filling-color tree drawing separated from the drawing of the background in figure paintings during Sui and Tang dynasties. The second is the formation of the pure ink-expression tree drawing during the Five Dynasties and the Sui dynasty. The third is the emergence and development of the taste in the ink tree drawing in the paintings of man-of-letters and the free sketch paintings during the Yuan, Ming and Qing dynasties. While studying the representative cases in different periods, I have found that the tree drawing does not inherit the fixed school and pattern. Instead, our forefathers had paid much attention to the relationship between inheritation innovation. We descendants had holded a narrow point of view to the definition of certain period and style of the tree drawing.Moreover, seeing from the aesthetic connotation of the tree drawing, it plays an important role in the Chinese painting. Reasons are following:Objectively, trees in the Mother Nature are in abundant varieties and styles, thus providing plentiful beauty in forms. The natural quality of trees determines objectively the rich patterns of manifestation of the tree drawing. Subjectively, certain form qualities and characters contained in the tree drawing accord with the moral view, emotion consign and aesthetic pursuit of an artist. Ontologically, since the tree drawing is one formal element of the Chinese painting, the change of its size, actual situation, operating location and density relation will put an influence on the keynote and effect of the whole piece of painting.