Study On The Antique And Fusion Of Wang Hui's Landscape Paintings In The Early Qing Dynasty

Traditional Chinese paintings have always paid attention to the methods and inheritances of predecessors.Since the Five Dynasties and the Song Dynasties,the"copy" and "imitation" of predecessors' paintings have become the main way to inherit traditional paintings.In the practice and inheritance of the predecessors,there were the "Qilu people in the early Northern Song Dynasty,but the camping hills;the people of Guan shan,but the Fan Fan." The "high ancients" proposed by Mi Fu in the middle of the Northern Song Dynasty;Zhao Mengfu advocated in the Yuan Dynasty The "painting is expensive and ancient";to the Ming Dynasty,Dong Qichang advocated "taking the ancients as the teacher".Therefore,the "copy" and"imitation" of the predecessors' paintings in the Qing Dynasty became inevitable.In the early Qing Dynasty,the Chinese landscape paintings were dominated by the antique landscapes of the "Tour Kings" by Wang Shi min,Wang Jian,Wang Hui and Wang Yuan Qi.The paintings of the "Tour Kings" were systematically inherited from the traditional landscape paintings before the Ming Dynasty.Wang Hui's"antique" is unique in the "Four Kings".He was not bound by the single thought of the antiques at the time,but the antique fusion of the Tang,Five Dynasties to Song,Yuan,Ming and Northern dynasties.Law,the ancient meaning.The author puts forward the theory of "integrating the ink of the Yuan people,the Song Dynasty people Qiu Yu,the Ze to the Tang Dynasty,and the Dacheng",and finally created the Lushan School.It can be seen from Wang Hui's exposition on antiques that the "antique" of Chinese paintng is not simply a question of copying and imitating,but a study of many aspects of the painting art of predecessors.It involves not only the inheritance and fusion of painting techniques,but also the integration and development of the theory of painting art in the past.This thesis firstly discusses the antique origins of landscape paintings in the early Qing Dynasty,and sorts out the antique historical materials of the two Song,Yuan and Ming landscape paintings,which leads to the origin of the antiques of the"Four Kings" landscape paintings in the early Qing Dynasty and the "orthodoxity" in the early Qing Dynasty."The status,and then analyze the different concepts,characteristics,teacher relationship and antiques of the "four kings".Secondly,it systematically analyzes the antique features of Wang Hui's landscape paintings,the influence of Wang Hui's landscape paintings on the landscape paintings of the Qing Dynasty,and Wang Hui's position in the Qing Dynasty and his role.In particular,Wang Hui's contribution to the creation of the Lushan School of Painting was discussed.Once again,Wang Hui's antique theory and antique title were analyzed.The similarities and differences between the antiques of Wang Hui's landscape paintings and the landscape paintings of Ming and Qing Dynasties are also comparatively analyzed.The focus of this paper is to study the techniques of antique and antique fusion of Wang Hui's landscape paintings.Including Wang Hui's landscape painting method,pen and ink,tinting,and artistic conception.The antique fusion includes the fusion of work and writing in the brush and ink,the fusion of the potential in the chapter,the fusion of the bright and the light in the color,and the fusion of the ancient and the modern in the painting.And the study of Wang Hui's personal landscape painting and antique painting program.