Study On The Geography Of Painting In Ming Dynasty

Ancient Chinese painting is the representative and ancestor of Oriental painting in the history of world art and has been inherited till now.As a social ideology and cultural factor,ancient painting is also an understanding and reflection of ancient social life.Painting geography studies the spatial and temporal distribution of painting,a cultural phenomenon,as well as the relationship between geographical environment and painting and its evolution rules.Taking the Ming dynasty(1368-1644)as the time limit and the painting talents,painting schools and painting works of the Ming dynasty as the research object,this paper investigates and restores the spatial and temporal distribution and changes of the painting talents and painting schools of the Ming dynasty,as well as the natural and humanistic factors reflected in the Ming dynasty paintings.This thesis is divided into four chapters.First chapter defines the related concepts of painting talent,this data recorded in the ancient books of Ming dynasty painter or painting name and author,and modern art history books dictionary of Chinese past dynasties artist names in the catalog of the painter of the Ming dynasty.Then further combing the Ming dynasty’s traceable painting genre and its distribution of the central region,the Ming Dynasty painting Geography of the pattern characteristics of the summary.It also makes a comprehensive reference to the intensity of the distribution of painting talents,the distribution of painting schools,the number of regional publications in painting writings and the ranking of the origin of the Ming Dynasty,and determines that the developed regions of Ming Dynasty painting are South province,Zhejiang,and Fujian.At the same time,it explains the relationship between the center of gravity and the government of the province:the location of the Ming Dynasty is coincident with its painting center of gravity.The second chapter defines the early,middle and late stages of the development of Ming painting,and expounds the development of Ming painting in different historical periods,mainly based on the revival of literati painting in suzhou.The time distribution of painting in the Ming dynasty is mainly reflected in the four elements of painting talents,painting schools,painting writings and spreading painting works.According to statistics,these four elements all showed a surge in the late Ming dynasty.And,in the three historical periods,mapinfo,a mapping software,is used to respectively restore the geographical distribution of painting talents,indicating that the distribution situation of painting talents in the three historical periods is basically the same.The third chapter mainly expounds the natural phenology reflected in the Ming dynasty paintings.Firstly,the animal species in Ming dynasty paintings are counted,among which the rare animals kirin,elephant and red-crowned crane are the most typical.At the same time,the types of plants appeared in Ming dynasty paintings were counted.The Ming dynasty had distinct descriptions of seasons,which were mainly reflected in the different plants appearing in different seasons,and the state of plants was depicted differently in different seasons.It can be seen from the seasonal description of plants in the painting and the meaning of autumn cold in the painting title that the description of autumn and winter cold often appeared in the painting of the Ming dynasty.Moreover,the landscape painting in the Ming dynasty was orthodox,and the difference of regional landscape reflected in it was also very prominent,which showed the geographical cognition of the painters in the Ming dynasty.The fourth chapter mainly elaborated the Ming dynasty painting under the humanities influence.This paper discusses the influence of humanistic factors on painting from the perspective of economy and cultural education.From the perspective of economy,the painting developed relatively well in economically developed areas in the Ming dynasty,especially suzhou in the Ming dynasty,which was not only the economic center of the south of the Yangtze river,but also the leading figure of literati painting in the Ming dynasty.The strong economic strength supported the development of the painting industry.From the perspective of cultural education,the painting development degree is relatively high in the regions with developed cultural education.Literati painting became the main alliance of painting forum from the middle period of Ming dynasty,and literati painters need to have certain cultural accomplishment and moral character,so it is easier to breed literati painters in the regions with relatively developed cultural education.