Yao Yi's Painting Theory Of Painting Is Formed

Under the Qing and Early Ming dynasty's time background,the Chinese painting has been experienced unprecedented negation and transformation.Yao Mangfu always adheres to the inheritance and development of literati painting as the last batch of scholar-bureaucrat under the feudal system.He uses theories and creative practice in response to the theory of decadent literati painting in the new culture movement.He tries to make vigorous effort to turn the tide.It is to breast the current.His theoretical system of painting thought has important influence for the development of Chinese modern art and the transformation for Chinese painting from the traditional to the modern.He is supported by Chen Shizeng,Wang Mengbai and a group of painters.It makes further development and inheritance for the traditional literati paintings.Moreover,it leaves precious art heritage and valuable historical experience for the prosperity of Chinese modern painting art.Yao Mangfu's painting thought formed from Chinese traditional culture and his painting practice.It is mainly formed from the social environment and their own efforts.This paper will explore the formative reason and influence of his painting thought from the time line when he is in Guizhou,Japan and Beijing.It tries to make a systematic conclusion of his painting thought based on Chinese traditional culture and discusses the causes and influence of the formation of his theoretical system.This article is divided into fourth chapters:the first chapter is discussed that the Guizhou's cultural has influence on his linguistic foundation under the feudal system at the end of the 19th century.The second chapter,the study experience is how to influence him under the background of Japanese cultural transformation in the early 20th century.The third chapter,this paper discusses the real statement of Beijing painting fields influenced by Chinese political and cultural at the beginning of the 20th century and how he is effected by social activities when he returned home.The fourth chapter is to analyze the forming process and influence of his painting thought,the fusion and development of traditional literati paintings and his painting thought.The epilogue part is to make a conclusive thinking for the significance of forming his painting thought.His artistic thought bases on his rich life experiences,gradually tends to mature and perfect accompanied by the process of literature and practice.The formation of his painting thought has very important theoretical value and reference meaning until now.