Tang Yifen’s Painting And His Thoughts

Tang Yifen is one of the representative painters with comprehensive artistic achievements in the middle and late Qing Dynasty.He is not only expert in drawing,penmanship and poetry,but also has outstanding achievements in landscape painting.He also has novel innovation in the inheritance of tradition,and is the author of painting theory "analysis of painting".The Tang family was famous for poetry,calligraphy and painting in Changzhou in the Qing Dynasty,and made positive contributions to the inheritance of Chinese painting and calligraphy.This article mainly explores Tang Yifen’s artistic achievements and influences from three aspects: Tang Yifen’s painting creation,his painting works and Tang family painting.The whole thesis is split into four parts:The first chapter briefly introduces Tang Yifen’s era and life,organizes important turning points in his life,and explores the cause and development of his painting creation and painting thought.The second chapter specifically analyzes the appearance and characteristics of his paintings from the two aspects of landscape,flowers and birds.Among them,he focused on the evolution of Tang Yifen’s landscape painting style,and found that he started from imitating ancient times in the early days,then traveled and created natural landscapes,and finally formed a simple and elegant literati landscape painting style.The third chapter compares and analyzes "Painting Quan" and "Painting Quan Analysis",and sorts out Tang Yifen’s painting views.The fourth chapter will summarize Tang Yifen’s artistic influence,from the three aspects of Tang Yifen’s painting creation,the Tang family’s painting achievements and the evaluation of Tang Yifen in the history of painting,so as to objectively understand the position of Tang Yifen in the history of painting in the Qing Dynasty.This paper mainly uses the methods of literature review,comparative analysis and combination of pictures and texts to explore Tang Yifen’s painting art and thought.Through the study of individual cases,we hope to make a useful supplement to the study of painting in the middle and late Qing Dynasty.