White As Black ——A Study Of White Space InHuichong’s Small Scene Painting

Chinese painting has a long history and is characterized by the use of line and ink variations to achieve a complementary effect of line and ink.Through the technique of brush and ink,it depicts specific objects and expresses the painter’s inner aesthetic interest.This paper attempts to interpret the white space in Huichong’s small scene painting through a theoretical analysis of "white as black" as a major concept in Chinese painting,to explore the relevance of its theoretical basis to the philosophical concept of aesthetics,and to study the embodiment of the principle of white space in Chinese painting by using Huichong’s works as examples.This dissertation uses knowledge from aesthetics,philosophy,history,iconography,and semiotics to discuss the subjective and objective factors that contribute to the creation and aesthetic value of white space in Huichong’s small scene painting,and to explore more deeply the deeper relationship between white space and traditional "ink and brush" and "reality and emptiness" on the basis of the research results of previous scholars.The paper is divided into six sections to investigate the beauty of the principle of "white as black" in Huichong’s small scene painting,which are mainly Chinese landscapes and birds.The first chapter explores the origin of white as black and reveals its inevitability in the creation of Chinese painting.The second chapter analyzes the use of white space in Chinese painting through the theory and technique of white space.The third chapter discusses the formation of Huichong’s small scene painting.Chapter four analyzes the white space in Huichong’s small scene painting.Chapter five explores the philosophical connotation and aesthetic significance of white space in Huichong’s small scene painting.The sixth chapter explains the influence of Huichong’s small scene painting on later generations and the inspiration for his own creation.