The Role Of Shi Tao’s Sketch In The Development Of Landscape Painting

From the period of the Wei,Jin,Southern and Northern Dynasties to the present,Chinese landscape paintings are continuously developing and growing.The landscape painting has always been an important role in the development of landscape painting.After experiencing the baptism of the Tang,the Five Dynasties,Song and Yuan Dynasties,the development of the landscape painting Gradually perfected,gradually formed a complete set of painting language.However,in the Ming and Qing Dynasties,influenced by the political system,the “Shigu people” took the upper hand.They directly inherited their previous brushwork experiences and compositional techniques,and did not seek innovation without life.Many artists abandoned their contact with nature and lived far away from their lives.They were addicted to ancient works.After the "Four Kings" in the Qing Dynasty,the landscape paintings began to decline.They emphasized the ancients and the worship of the ancients reached the point of losing self.The compositions of their works are mostly imitated by the ancients.They rarely have their own opinions and feelings,and they lack the sense of innovation and personal style.Of course,in addition to the “Four Kings” mainstream school of painting,there are also some landscape artists who are committed to exploring and innovating.They inherit the solid foundation laid by previous generations,and they also value natural resources and seek for innovations in pen and ink programs.These artists,Shi Tao,are outstanding representatives who oppose the excessive imitation of the ancients and advocate respect for their intuitive feelings.They break the old habits and explore innovation in their creation.In the painting theory,there are "Stone Taoist quotes" and "a painting","living up with life","not like it","searching for peaks and playing drafts," "brush and ink when on behalf of" and a series of Aesthetic thought,which he summed up through his lifetime observation of natural mountains and rivers and his own understanding of painting,has a certain guiding significance for the development of landscape painting.His painting concept played an important role in the evolution of the concept of landscape painting.While inheriting the outstanding traditions of the predecessors,he was unwilling to rethink the way of retro people.He hoped to combine his own experience of life and natural mountains and rivers to create unique characteristics.The painting language has a positive guide for the future development of Chinese painting and landscape painting.In the context of the complex and diverse era of contemporary art,his “brush and ink is a time-honored generation” points the way for the development direction of Chinese painting,which is not only in line with the modern business taste of contemporary Chinese painting,but also without traditional painting theory.This article takes the role of Shi Tao’s concept of painting in the history of the development of Chinese landscape painting as the main line.Through the ancient people’s views on sketching,the sketching methods and their sketching practice before Shi Tao,and Shi Tao’s unfamiliar tradition of inheriting the ancients’ outstanding traditions,it is necessary to innovate.And what kind of innovation and concrete performance of Shi Tao’s sketch concept compared to the ancients’ sketch painting concept is also elaborated by Shi Tao’s sketch concept on the realistic significance of contemporary Chinese painting.The first chapter of this article mainly probes the sketches,starting with the understanding and opinions of the ancients on the sketching before the Shi Tao,to extend the development of the sketch painting practice and the sketching concept of the predecessor landscape painting to carry out a simple combing of the development of the traditional painting sketching concept.The second chapter briefly discusses Shi Tao’s viewpoints on painting theory,and analyzes and expounds Shi Tao’s conception of painting from three aspects: "one painting","acceptance and knowledge" and "demonstration in sketching." The third chapter focuses on the position and function of Shi Tao’s concept of painting in the development of landscape painting.The first part explains why Shi Tao is different from the historical background of Shi Tao’s life,the impact of personal life and Western painting,and certain political reasons.The generation of people,why not simply inherit the fine traditional painting concepts and why they must innovate.The second part mainly focuses on the innovations of Shi Tao’s landscape painting concept compared with his predecessors in the landscape painting concept.They mainly describe the sketch concept of Shi Tao’s landscape painting from the perspectives of the conception of sketching students,the writing language,and the concrete way of sketching.The concrete embodiment of the role of inheritance.The fourth chapter describes Shi Tao’s landscape painting inspiration for the development of the later landscape paintings and the guidance of the development direction.The first part mainly uses Huang Binhong and Li Keran as examples to write the influence of Shi Tao’s landscape painting concept on the development of their landscape paintings and the influence of the new ideological trend on art.The painting studio presents directions to the mountains.The second part mainly writes Shi Tao’s landscape painting inspiration on the development of contemporary landscape painting.It explains how to deal with traditional paintings and the West today in the context of contemporary art with the example of Long Rui,the original “Chu Yuan Qing”,and Baiyun Township,the original “Yunxiang Shanshui”.The relationship at the time of painting also gives us a guide in the direction of the time.