Research On The Grotesque Art Theory In The Late Ming And Early Qing Dynasties

Starting from the interpretation of “grotesque”,this paper focuses on researching the performance of “grotesque”art theory in the late Ming and early Qing dynasties in the midst of appreciation of the ugly spectrum.It combines with conception of beauty and ugliness of East-West,analyzing the artistic expression and the connotation of art theory,and mainly elucidating and explaining the art theory and art connotation of Xu Wei,Chen Hongshou,Fu Shan and other representative figures respectively.This paper mainly expounds the theme from the following six aspects.The first chapter is concerned with sorting out and presenting the concept of “grotesque”,and distinguishing between the different conception of beauty and ugliness between East and West.The first section elaborates the eastern and western notions of ugliness,explain the different connotation of ugliness.the second section,it discusses the expression of “eccentric” and discourses upon the connection between “eccentric” and primitive art in the beginning based on the two contexts of Chinese art and culture as well as western art theory.The third section elucidates conception of beauty and ugliness of East-West through people’s recognition on the nature of ugliness,and the comprehension of beauty-ugliness relationship.The second chapter mainly clarifies the art form of grotesque in the late Ming and early Qing dynasties.The first section talks about the variation of the style in calligraphy,mainly including rise and popular of variant Chinese character during late Ming and Qing dynasties.In the second section,it explains the performance of anti-harmony and anti-moderation according to the transformation of figure painting and flower-and-bird painting on themes,artistic conception,and manifestation mode.The third chapter is about the connotation of “grotesque” art theory in the late Ming and early Qing dynasties.The first section sets forth the transformation of people’s creative attitude – from rigorousness to whim – during the late Ming and early Qing Dynasties.The second section states the aesthetic style of “grotesque”.First of all,it elaborates the characteristics of exaggeration and distortion according to the variation of color,time,Chinese characters of calligraphy,and figure painting.Secondly,it elaborates the form of rough and deficient.then,it explains the aesthetic effects brought about by the unbalanced operation based on theory of painting.The third section elucidates aesthetic connotation of seeking affection rather than similarity based on the art theory and manifestation mode of non-similarity.In the fourth quarter,combining different forms of the natural and true artistic pursuit.In conclusion,this chapter discusses the connotation of grotesque through the aforementioned four sections.The fourth chapter analyzes the psychological causes of the art theory of “grotesque” in the late Ming and early Qing dynasties.On the one hand,it elucidates social psychological causes and highlights the psychological contradictions of scholars,including the identity conflict between Confucian scholars and professional painter,the psychological conflicts of identity of adherents of a former dynasty as well as turncoats,and the psychological mutation during economic transition.On the other hand,it interprets cultural and psychological causes and expounds the influence of traditional philosophy and neo-philosophical thoughts as well as cultural thoughts,including the activeness of Taoism,the prevalence of Yang-ming’s mind philosophy,and the influence of torrent trend of thought.The fifth chapter manifests the aesthetic significance of the art theory of “grotesque” in the late Ming and early Qing dynasties.The first section elaborates its aesthetic values and sums up from three aspects: the enrichment of art theory and individual performance,the newly produced aesthetic psychology and aesthetic effect,and flaunt of life aesthetics.The second part discusses the contemporary revelation of the art theory of grotesque in the late Ming and early Qing dynasties,and expounds the role of appreciation of the ugliness in contemporary society based on aesthetic psychology and the two social values of the art of ugliness.Furthermore,it advocates that the over frenzy appreciation of the ugliness should be vigilant.