The Ming Dynasty Fisherman Paintings

Fisherman Paintings as the main object, through comparison of such a theme with the previous generation of similar themes found in the Ming Dynasty, Fisherman Paintings generally tend to secularization, each stage has its own characteristics, to the phenomenon,In this paper, a study. The purpose of this study is to explore Fisherman Paintings, returned to secular seclusion in the early Ming Dynasty, in the late hidden also vulgar and final formal performance extremely causes.To solve this problem, the article first combing these paintings can before the Ming Dynasty theme in the different characteristics of each period, and their representatives painter; overall grasp of the social background of the Ming Dynasty and painting features. On this basis, the article puts forward four visual elements of the Fisherman Paintings and analyze changes in the Ming Dynasty and the theme topics such as the change of thinking echoes.The article further Fisherman theme paintings found through analysis of the professional painter and literati painters, professional painter Fisherman theme paintings secularization weakened by the mood of the screen, the expansion of the image of the Fisherman, Fisherman real-life description points to; the literati painters such a theme, whether it is performance secular the oun means "fishing music" or "seclusion" feelings chart, emerged also vulgar Secluded characteristics final performance is formalized. Thus, analysis of the reasons drawn, the professional painter Fisherman theme of secularization and aristocratic taste, and cultural trends and their social status of the painter. Lead to such worldly care to late Ming shift the reason, it is changes in the mainstream taste in art and literary expedition frustrated. The final Fisherman Paintings shaped formalization is due to the changes of social thought and artistic concepts.