| Wang Shimin,the head of "Four Kings" in the early Qing Dynasty,is the representative figure of orthodox landscape painting.He inherited the painting world masters Huang Gongwang,Dong Qichang,inspired the "Loudong School","Yushan School" painting purposes.Wang Shimin’s important painting thoughts are recorded in his painting theory,Xilu painting Postscript,Wang Fengchang calligraphy and painting inscription Postscript,which has a far-reaching influence.Qing Dynasty is the period of great summary of painting theory,and the painting theory of this stage is summarized on the basis of predecessor’s theory.According to the author’s arrangement and research on Wang Shimin’s painting theory,the academic circles pay less attention to Wang Shimin’s painting theory nowadays,which is basically to put the academic field of view on Wang Shimin’s superficial exploration of "imitating ancient times".He seldom studied his painting thoughts from the perspective of literary aesthetics.Therefore,this paper tries to study Wang Shimin’s aesthetic thoughts from three aspects from the angle of aesthetics.This article mainly from three aspects to study Wang Shimin painting aesthetic thoughts.First of all,Wang Shimin believes that excellent painters have both natural "spiritual conscience" and acquired artistic horizons.Then,Wang Shimin insisted on the orthodox artistic idea guided by Confucianism: keeping the orthodox "painter’s right vein",reorganizing the disadvantages of the painting world in the early Qing Dynasty,and establishing the orthodox creative atmosphere in the painting circle.At last,Wang Shimin pursues the artistic goal of "charm and vividness",obeys the aesthetic orientation of "straight peace",and reaches the technical requirements of "realistic pen and ink,similar shape and spirit",thus showing the painting styleof "plain and naive".Wang Shimin pursuing the orthodox artistic concept guided by Confucianism fully embodies the grasp of aesthetic value and aesthetic needs of the times.In his painting thought,he inherited the essence of the traditional painting theory of his predecessors,and in order to open up the theory of painting in future generations,he had a sense of mission of inheritance and innovation in the Chinese traditional culture,and in the history of Chinese painting,he also played an important role in linking the above with the next,left a thick ink for the traditional Chinese painting. |
