The Evolution Of The Painters And Ink Symbols Of The Landscape Painters Of Ming And Qing Dynasties

Since the initial maturity period of the Tang Dynasty and the Five Dynasties,Chinese landscape painting has passed the period of the high development of the two Song Dynasties and the period of change in the Yuan Dynasty.Since entering the Ming Dynasty,it has basically possessed a complete theoretical system and technical language system.An out frame has been formed,and It has begun to increase the differences in aesthetic ideology,painting concept,artistic language style,etc.formed by the difference of theme,watershed,painter’s individual class identity,etc.,and has been further strengthened in the subsequent development,resulting in writers The differentiation of paintings(professional painters,college-style paintings)and literati paintings also resulted in the solidification of styles,the emergence of various schools of painting,the similarity of the teaching system,and the typicality of different styles of pictures.Of course,this is also an important period for the whole to mature.The peace and stability of the two generations of the Ming and Qing Dynasties laid a political foundation for the controversy among the painters of all walks of life in the society and the styles of the schools,to a certain extent,it breaks through the aesthetic barriers between each other.Therefore,the landscape paintings of the Ming and Qing Dynasties are also a stage of high integration of Chinese landscape paintings.In the Ming and Qing Dynasties,the literati landscape painting gradually improved after a period of exploration and foreshadowing by previous generations,and it has its unique theory,practice,and technical language system.It became independent,expanded its artistic territory,and then developed from the resistance to court with professional painters to the sole point of speaking in the painting world.During this period,literati painters and professional painters almost systematically sorted out and reconstructed the previous generation’s painting language and technical style,refining and orderly sorting out the outstanding artworks and artist’s language style.At this point,literati painters and professional painters showed strong artistic consciousness and amazing tacit understanding and also carried out a series of collisions and blends.During this period,literati painters,based on the subjective extraction of the pen and ink language form of previous generation paintings,integrated the creation and development concepts of poetry,calligraphy,Jinshi seal carving,and other arts,so that the painting language of landscape painting gradually became stylized,Artistic features such as symbolization and non-paint ability.From an ideological point of view,they pay more attention to the deconstruction of knowledge rather than the representation of nature,which in turn has promoted the development of the freehand spirit of literati landscape paintings,making it more emphasis on the meaning of the form of brush and ink and the lyricism of the brush and ink itself—— This must be said to be another breakthrough in the history of the development of landscape painting in China.Therefore,according to the artistic characteristics of the literati landscape paintings in this period,such as wide cultural extension and strong humanistic characteristics,this article is different from the traditional art disciplines that use art theory to interpret art phenomena or aesthetic concepts to interpret art practice.In the article,the author adopts research methods such as literature analysis,comparative research,and example demonstration,and uses a certain space to explain the "outside the work" in the literati landscape paintings,that is,the mainstream academic thoughts of the Ming and Qing dynasties,the collective aesthetic tendency and nationality of literati painters.The internal driving force of the relevant humanities disciplines such as the artistic thoughts and creation views of various aspects of the evolution of the literati landscape painting system in this period is also the research feature of this article compared to other general academic pieces of literature that study the literati landscape brush ink form.At the same time,taking into account the particularity of the art discipline,to highlight the demonstration effect of the article,the author also supplemented the necessary chapters with pictures for auxiliary analysis to compare and sort out the literati landscape painters of different stages,different strata,and even different cultural attributes in the Ming and Qing Dynasties The differences in painting form and the overall inheritance and evolution of the art form between the overall painting style of the Ming and Qing Dynasties and other landscape paintings of the previous generation.It should be noted that because the landscape paintings of the Ming and Qing Dynasties have relatively complete continuity and continuity in the development system,contemporary art theorist Wang Bomin attributed the unification of the Ming and Qing Dynasties to a period in the landscape painting development system,and This is divided into the three stages of "Yingying","Straightening",and "Shouye" according to the order of the beginning of Ming Dynasty,the period of Ming and Qing Dynasties,and the period of the middle and late Qing Dynasty.The author agrees with this,so this article also partially uses this statement when discussing,Through a more complete interpretation and interpretation of the pen-and-ink language form of the Ming and Qing literati landscape paintings,"Study and Go Up" discusses the current humanistic attributes of the development of Chinese landscape painting.