The Objectification Of Spirit-An Analysis Of The Dao And Art Of The Chinese Scholars’ Landscape Painting

Landscape painting occupies an important position in the long term of Chinese painting history, and it is especially true in Song Dynasty when the landscape paintings are of the most outstanding ones. Nowadays, endless studies have been done on those landscape paintings in Song Dynasty. Different scholars have analyzed the landscape painting from different perspectives while few of them touched the aspect of “physical surroundings”. Therefore, the article shall discuss the forms and techniques of specific works in Song Dynasty, starting from the “physical surroundings”, combining painting history with theories, adopting literature analysis, comparative analysis, iconography and statistic method. Not only can it enrich the study of Song Dynasty landscape painting, providing a reference for contemporary landscape painting, but also promote the innovation of the contemporary landscape paintings.This paper firstly analyzed the origin of "images" and "surroundings", the specific category and definition of “physical surroundings” under current situations, then made a distinction on its various definitions, after that, by studying ancient classical paintings the author concludes that the overall appearance of landscape paintings as well as the styles of different artists in both Song Dynasties is different. At last, we made a specific analysis on the differences from the observation methods used before the creation, the used techniques during the creation, the selection of painting system,the painting’s theme, and the author’s experience and his residence. We conclude that the landscape painting of the Northern Song Dynasty is complicated in art of composition. And it is characterized by panoramic composition, complicated using brush methods and thick colors of brush and ink. The texturing method was mainly developed from the technique of wrinkling. And it attached importance to using lines;The southern Song Dynasty has more concision in the landscape painting. And it is characterized by edge-comer composition of picture. The methods of using brush is simple and the ink is usually thin. The texturing method was changed a little from the hachet-chopping texture strokes of the Tang Dynasty mainly by sweeping with big or side brushing. The materials of person together with flowers and birds appeared in these paintings. Last but not least, the article specialized the reason for the different appearances of landscape paintings between the northern Song Dynasty and southernSong Dynasty. First of all, emperor Song Huizong has affected the landscape pairing politically. Secondly, economically commerce was highly encouraged all over the country then. This has created a much richer environment which created good conditions for landscape painting to grow across country. Thirdly, it’s from culture perspective. The effect from " Uphold Justice, Annihilate Desire", and the fusion of Confucianism, Taoism and Buddhism, and the those existed in the literature then have influenced the virtue, philosophy and aesthetics of artists. Above all, these are all the requirements that helped develop the "" of landscape painting in both Song Dynasties,which has created a good role model for future generations to learn.