| The development of landscape painting in North Song Dynasty inherited the painting style of Wei Jin Nan Bei Chao Dynasty in the distant era and Sui Tang Wu Dai Dynasty in the past few years. It developed into high level of maturity because of the style influence of Wei Jin Dynasty and the mental impact of Tang Song Dynasty.Together with the emphasis on landscape painting of Northern Song Dynasty rulers who set Academy of Painting to widely recruit Professionals; Intellectuals and officials highly praised on the landscape painting; And with the influence of the three landscape painters of "tripartite confrontation hundred era, model through the ages", landscape aesthetic trends of thought rapidly surged up.Lin Quan Gao Zhi generated in the this background. It was an important work of Landscape painting theory in North Song Dynasty. It was the theoretical summary about Creative experience and artistic views of all Guo Xi's life, Edited by his son, Guo Si.Many aesthetic propositions was great attention to in academic circles in Guo Xi's Lin Quan Gao Zhi this work.This article systematically sorted out and explored the aesthetics of Lin Quan Gao Zhi in the realm with related paintings and literature, deeply found the aesthetic values on the Lin Quan Gao Zhi.This paper focused on realm thought of Lin Quan Gao Zhi from the following three aspects:First of all, the realm aesthetics of Lin Quan Gao Zhi interpreted that Chinese landscape painting didn't simply describe the natural landscapes, but the embodiment of "Heart of Linquan" and "Meaning of Beyond Image",it is the spiritual carrier of the truth, the good and the beauty.The biggest difference with the Western landscape painting is the integration of "good"."Good" refers to the spiritual factors of the artist's thoughts, emotions, cultivation and so on about landscape painting. Clearly, the aesthetic ideology of Chinese landscape painting of "The spirit based on the form" was completely different from the aesthetic character of Western landscape painting of "As real". Guo Xi's "Lin Quan Gao Zhi" inherited and developed traditional aesthetics of Chinese landscape painting, proposed the aesthetic realm of "For walking ", "For watching","For tour","For living", in order to meet the spiritual needs of intellectuals and officialsat at that time, To "no less than banquet hall, sit the poor spring gully, " enjoy "the joy of Linquan" purposes. Achieve " Without leaving home, toured landscape " and enjoy "the joy of Linquan". Because of this, Guo Xi emphasized landscape painting that not only the images should be real, but also the realm should be far-reaching.Secondly, the realm of Lin Quan Gao Zhi was a close relationship with poetry and traditional philosophy.Guo Xi considered poetry in picture, painting in poetry, that poetry and painting were interlinked and consistent. The painters expressed thoughts and feelings in landscape painting gradually took the place of the role of the ethical enlightenment.In addition, the realm of "For tour","For living","Good mood, Pleasure thoughts" proposed by Guo Xi were the embodiment of Taoist Aesthetics. Although that Confucianism affected deeply society at the time, Intellectuals and officialsat who tired of the secular life desired "Happiness of Lin Quan "to meet the spirit. Especially the thought of "Cosmos and human become one " was embodied in the landscape painting, which is both cosmology and philosophy, and the aesthetic concept in Chinese landscape painting implied a realm of life. This realm has become "unity of mind and matter", "mind and matter appreciated each other" with landscape painting.Thus, Guo Xi attached great importance to create the beauty of realm about landscape painting and considered that it was an important basis and standards for landscape painting evaluation.Additionally, the paper also describes the basis for the formation of Guo Xi's painting style features, to explore the origin of the realm aesthetics. Then discussed the impact of the realm of Guo Xi'landscape painting for the Song Yuan Dynasty landscape painting.Thus established its historical status of link between past and future in the process of development of Chinese landscape painting.The preface of this article briefly introduced the significance, current research and the main research contents and methods on Lin Quan Gao Zhi. The content were divided into three chapters:The first chapter was the focus of this article, including the three sections. Revealed the implicit aesthetic thought about thestate respectively, from the perspective of physical realms, emotion realms,mental realms combined with the text of Lin Quan Gao Zhi, Discussions were payed attention to created method on physical realms "taken it that painters themselves entered the mountains", "san yuan".The second chapter described and discussed the cultural connotation of "realm" thought in Lin Quan Gao Zhi, consisting two sections with poetic expression and implanted on the philosophy.Which emphasized the poetry in painting and Taoism.The third chapter emphasized the impact of Guo Xi's painting and the "Realm" for the Song and Yuan landscape painting.Firstly, analyzed the base of characteristics on Guo Xi's painting style to explored the reasons of the formation on "realm" aesthetics of Lin Quan Gao Zhi.Secondly, discussed the impact of Guo Xi's painting for the Song and Yuan landscape painting,with the written records from the late North Song Dynasty to the Yuan Dynasty. In addition, discussed the impact of "Realm "on Lin Quan Gao Zhi, for the Song and Yuan landscape paintings, in chronological order with the background and paintings. |
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