Xu Gu Xu Gu Open-minded

This paper studies the features of"virtual"in Xugu's landscape painting works. Through this research I can guide my own way of painting in the future. Xugu is a representative figure of the sea school of painting. People always focus on researches on his bird-and-flower paintings, while his landscape painting have relatively got a smaller attention. His landscape work is small, but the visual pictures are ethereal and fresh, and have a high art attainments, thus it is of great significance to study it.This text is divided into four chapters: the introduction presents a brief introduction of the "sea school of painting," about its emergence and characteristics, and Xugu's historical background, artistic talent and the art of landscape features and the research status on him in the world. Chapter I outlines the Xugu's life, his art experience and artistic characteristics. Throughout Xugu's landscape works, without exception, has demonstrated its vacant, fresh, sheer, illusory and misty personal painting style, such a style's formation has been contributed by not only his own long-term accumulation and creativity but also by the senior master, and no doubt other cotemporary artist's influence. According to the comparison through their works, it can be found that Xugu has got a relatively straightforward learning to Hongren. Xugu's painting has got a relationship with not only Jianjiang but also Chengsui. As Xugu was living in the trading port of Shanghai where lots of foreigners are gathered, therefore we cannot rule out the possibility of his absorption of foreign culture. Chapter II relates the virtual-and- reality views in Xugu's landscape paintings from the perspective of Chinese philosophy, from the presence or absence of Laozi and Zhuangzi, to the virtual-and- reality views of Confucius and Mencius, and the alternate theory of yin-and-yang of tai chi by Zhouyi, trying to seek for the roots of the virtual-and- reality view in Chinese painting, to provide a theoretical support for the virtual artistic characteristics in Xugu's landscape paintings. And chapter III is the pivot of the whole paper. During this chapter, a all-sided analysis to Xugu's landscape paintings is presented, from the seven aspects of the vacant aesthetics, spacing division aesthetics, the close relation between virtual and reality, the back disposal of the characters in the paintings, the pithiness aesthetics on exquisite and the modernism characteristic on the composition, thus present the virtual artistic characteristic in Xugu's landscape paintings to the observer. Xu Gu full portrait is done with light ink to draw, Qingyun haunt in physical image around the misty mist, trees, rocks, leaving only a small portion, just like a dream world. Xu Gu remaining gaps in the landscape is not only just right, but also has a certain aesthetic form. Xu Gu landscape with virtual realism, actual situation with the perfect interpretation of the Chinese painting in the ethereal and subtle aesthetic ideas, clever will be virtual and real, concentrated and short, sparse and dense integrated in the picture among the pairs of natural beauty to be strengthened, so that screen to obtain an elegant taste, deep artistic effect. Xu Gu landscape of the characters is back facing the audience, people could not guess people's emotions. He or hidden hermit into the mountains, or harbor literary ambitions and the gifted and frustrated figure on the back of patriots this deal so that the screen figure cast a layer of mystery, but also makes the picture the mood is more far-reaching. Most of ancient painting landscapes painting great mountains and water, or, having taken a small scene, but relatively large size of painting, while the small hill Xu Gu alone love scene, a very small frame. Xu Gu these exquisite landscape of increase is small in the see the big picture in no way inferior to the contents of the large mountains of re-watering images of nature's beautiful scenery is concentrated in a small frame theme of small screen, was imbued with sophisticated and Nairen unforgettable charm, shows the infinite far-reaching artistic charm. Xu Gu landscape out of the details of daily life, through life's mountains and rivers Masakina processed refined form a simple style, pay attention to little more than wins, pens, concise high. Chapter IV a brief overview of the history of painting Xu Gu contribution and impact on future generations. Xu Gu's paintings have been over a hundred years though, but we can still feel the screen in the "modern", which is with him on the screen shown in the forward-thinking inseparable. So far, many painters were inspired by him, such as the Pan Tianshou, Shi Lu, Wu Guanzhong, where the Water Law, and others on-line form of the pursuit and exploration, especially the Shanghai Painting Academy of the well-known flower companies Jiang Han Ting, known as "Jiang Xu Gu," love alone Xu Gu's paintings, carefully copying of his work, reaching almost like genuine level. But Xu Gu proficient Confucian culture in order to Zen art, but the screen Cold-Jun order popular quiet, mood lofty and difficult to imitate. All of which are an extension of Xu Gu art.In the course of the study, I have used a variety of research methods, comparative method, screening method, inductive method, illustrated law, literature and France to study the landscape style of Xu Gu.