Tang Dynasty, Figure Painting And Decorative Painting A Sexual Relationship Study

Tang Dynasty is the most important period of the development of the Chinese traditional person painting. The person painting in this period has the embellishment characteristic and the characteristic of painting. These characteristics constituted the style of the race of the Chinese painting. Tang Dynasty person draw good holding of the relation of the embellishment characteristic and painting characteristic. The person painting in this period has special appearance. The traditional culture in mental cause this. The relation between form and spirit and the relation between mind and images are the Chinese ancient philosophy questions. These two philosophy questions were led to go into to the realm of the painting. Then the Chinese painting had the theories instruction. Thinking of problems in the Chinese painting can ask for help from the comprehension and the confidence of "form" and "spirit", the confidence of "image" and "mind". The purpose to write this chapter is to the find the source of the characteristic of the person painting the creation adornment and the characteristic of the painting that explores the Tang Dynasty, the relation of "form" and "spirit" and the relation of "image" and "mind". The purpose to write this chapter is to find out the contents and the form in the creations, the relation with subjective and objective. I hope that this research can guide the creations in my painting.There are three parts in this chapter. The first one introduces the great body circumstance of Tang Dynasty person painting. The first part of chapter is the type of Tang Dynasty person painting. The Tang Dynasty's spirit is great .The painting of the Tang Dynasty is sumptuous.The second part analyzes two problems of philosophy .These two problems are the relation between "form" and "spirit" and the relation between "image" and "mind". This part discuss the relation between "form" and "spirit", the relation between "form and spirit" and "image", the relation between " form and spirit " and "image and mind". The contents of this part are the theories of "convey the spirit with forms" and "convey the mind with images" with the theories of "using image to express meaning". The conclusion of this part is Chinese painting to use the body performance spirit, expressing will with the form and spirit". The relation of the form and the spirits and the relation of the meaning are the main thought of the Chinese paintings. This thought exists in the whole process of the Chinese painting, but the different period body is different now. With the influence of the theories of " convey the spirit with forms,convey the mind with images", Chinese painting pays attention to the emersion toward the objective thing, heavy outside beautiful, heavy adornment. This phrase contains two meaning. One hand is what Chinese painting notes is important, the other hand is Chinese painting to pay attention to.The third part is an analytical relation that is the adornment factor and the painting factor in "form", "spirit", "image", "mind" and Tang Dynasty person painting. Tang Dynasty person painting pays attention to "mind" and "spirit". Tang Dynasty person painting also pays attention to the characteristic and ideal characteristic of the typical model of the shape, paying attention to appreciate beauty corpus to the painting language choice and the exploitation, that pays attention to decorate factor and create factor in the traditional craft art saves with the fusion of the pure painting factor.This chapter focuses on the discussion about the performance of the embellishment characteristic and the painting characteristic of the Tang Dynasty person painting. This chapter focuses on the discussion about the relation between the form and spirit in the Chinese painting theories. This chapter mainly lies in the contents and form that explains the painting guest body, the phenomenon and essence relate to. The relation of the image and meaning explains of the host and guest body of the painting to relate to. The painting is the corpus and guest body, contents and form to combine. The person painting in Tang Dynasty comes from the painter which drawing lessons from the traditional craft art adornment and the theoretician of the Tang Dynasty who medium adornment factor and corpus of the formality present pursue to the painting essence factor.