A Study On The Form And Style Of The Blue-and-green Landscape Painting In Ming Dynasty Shanxi Murals

Murals in the Ming Dynasty Shanxi are the most complete preservation at the time and space level,with clear historical context,sites throughout the country,and all-encompassing picture content.However,the current research on murals in the Ming Dynasty Shanxi not only stops at the case study,but also ignores the large number of landscape images existing in the murals.In this regard,this study attempts to connect points into lines for the first time and focus on the landscape image of the mural theme background.The temples and tomb murals scattered in the corners of more than 80 counties and towns in Sanjin are connected in series.Through the combination of literature research and empirical research(material historical materials and visual materials),20 temples and palace murals(18)and tomb murals(2)with blue-and-green landscape painting are selected.According to the first-hand image data collected from the field investigation,the mural information not included in the existing atlas is supplemented,and the missing corner landscape part in the plate restores the whole picture of the mural.Based on this regression image itself,the form analysis centered on style and style is carried out in the landscape expression language sequence,and the visual expression vocabulary of blue-and-green landscape painting in murals is explored with pen and ink,color setting and space as the origin,so as to make new thinking from the image research level of’class’.By observing the language style and style system of folk painting,and approaching the context of literati painting through the media of citation text(ancient painting theory),it is necessary and effective to supplement the presentation of more diversified reality of painting in the Ming Dynasty.New perspectives,new materials and new ideas are expected to broaden the research horizon and path of mural history and even painting history,so as to supplement the ontological theory research of traditional Chinese landscape painting.This paper chooses the blue-and-green landscape painting in the Ming Dynasty Shanxi Murals as the overall clue to carry out thematic research,and tries to clarify the inheritance and evolution of blue-and-green landscape painting in the evolution of painting history through style classification and style analysis.Based on the characteristics of time and space,the first step is to start with the pen and ink language of the expression style.The styles of blue-and-green landscape painting,rocks,trees,clouds and forests are mainly manifested in the pen and ink grid method of ’pen and ink hook texturing’ and ’ink hook dyeing’.The second is the performance of color setting on the basis of pen and ink.It inherits the tradition of green and green in the previous generation and is influenced by the trend of ink painting.Some follow the classical style as the green and gold color setting of the green and green color body,and the rest create the color setting of ink painting-ink painting and Wu costume.Finally,the ink and color are incorporated into the spatial layout under the global view.The three forms of expression of the landscape space-narrative drawings,reproducible drawings,and decorative patterns are subject to and serve the mural theme performance content.Generally speaking,the evolution of the style and style of blue-and-green landscape painting in the Ming Dynasty Shanxi Murals experienced the narrative style of brush and ink hooks,green or incomplete green colors(gold and blue,ink)in the early and middle Ming Dynasty,and the spatial expression of the realistic style to the decorative style in the late Ming Dynasty.The combination of ink and ink and color design developed a new style of Wu dress,showing the typical Jin style of the Ming Dynasty with the characteristics of the times and regional characteristics.The blue-and-green landscape painting in the Ming Dynasty Shanxi Murals inherits the legacy of the murals of the previous dynasties,combines the elegance and magnificence of the palace courtyard with the lightness of the literati ink painting,and creates a new change in the landscape era.The color popularity of contemporary landscape painting is more or less attributed to the mural art created by the folk.They transcend the ancient times and have an impact on the visual structure of landscape expression in the context of religious worship.The research on it may be able to rectify the name of the anonymous painter,rectify the position of the folk painting,and reach the historical origin.