| Chinese landscape painting was developed on the basis of Chinese philosophy,which includes Lao Zhuang Taoism,Confucianism and Confucianism.The development of landscape painting was influenced by Taoism,Confucianism and Zen Buddhism,and was separated from figure painting to exist and grow as a separate form of painting.During the development of landscape painting,the philosophical idea of the Tao and nature was embedded in the picture throughout its history.The philosophical idea of seclusion was developed in landscape painting.The idea of “seclusion” varied from period to period.In this paper,we focus on the subject of fishermen and hermits in Song Dynasty landscape painting,analyzing the background of the two Song dynasties and the changes in thought,and further exploring the spiritual world of the hermits in Song Dynasty landscape painting.As times develop and society changes,people’s aesthetic interests will also change.The Song Dynasty was an important turning point in the era,and the Song Dynasty period saw great changes from the ideological aspect to the painting aspect,which had a profound impact on the development of painting in the later and even modern times.Diversification of subjects and styles emerged in the development of Song Dynasty painting,such as literati painting,Daoist painting,custom painting,and flower and bird painting all coexisted in the same period.From the Northern Song Dynasty to the Southern Song Dynasty,the scholars and great scholars slowly favored a reclusive lifestyle,and in the Yuan Dynasty,they were even more reclusive in the mountains or the market.These literati and scholars used painting to relieve themselves of their deepest feelings for their home and country,thus gaining solace for their souls.Song Dynasty painters were influenced by the ideology of “hermitage”,and the delicate depiction of nature in landscape painting techniques gradually shifted to the deepest thoughts of the self.This paper analyzes the evolution of the theme of fishery and fishing,and explains the relationship between fish and water,and fish and the father of fishermen in the “fishing”imagery.The key chapters are Chapter 3 and Chapters 5 and 6.The third chapter analyzes the most representative landscape paintings with the theme of fishing and hiding in the Song Dynasty from the background of the society,culture,and development of landscape painting in the Song Dynasty,and understands the transformation of landscape painting in the form of composition,painting language,and ideas in the two Song Dynasties.Chapter 5 explains the two types of works in courtyard painting that express aristocratic aesthetics and convey self-expression.The distinction is made between the paintings of the academy and the paintings of the literati in terms of expression and aesthetic concepts;the distinction is made between the paintings of Zen Buddhism and the paintings of the literati in terms of ideology.Chapter 6 analyzes the emotional expressions of landscape painters in terms of the philosophical aspects of Taoism,such as “free travel”,and Confucianism,such as “solitude”.It also looks at some of the poems of the Song Dynasty to understand the development of the theme of fishing and hermitage and its influence on landscape painting,and analyzes the cultural connotations of poetry in painting.This paper also analyzes the “hidden feelings”conveyed in the literati paintings of fishermen and hermits from the most famous theoretical work on painting in the Song Dynasty,Lin Quan Gao Zhi.Finally,through the comprehensive analysis of this paper,the influence of the ideas encapsulated in the fishing and hermitage themes on modern landscape painting is explained.This paper presents a longitudinal analysis of the fishing and hermitage subjects of the Song Dynasty and summarizes the aesthetic interest and ideological transformation in the philosophical aspects of landscape painting in the two Song dynasties. |
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