The Different Ways Of Color And Line Development History

The Tang and Song dynasties were one of the most complex and profound turning points in the history of ancient Chinese painting.Among them,color,a form of expression that used to exist as the main body of painting,took the Tang and Song dynasties as a dividing line,as painting gradually moved away from a certain functionality to a conscious and aesthetic sphere,and in this process color gradually tended to be on the edge of painting history.This overall change in the face of painting is specifically "a gradual retreat of color and a gradual advance of brush and ink," but in previous studies,the discussion has focused more on the relationship between color and ink,green and ink,with a certain fracture in the narrative of painting history.In another sense,the underpinnings of the color changes that occurred in the Tang and Song dynasties are actually about the conceptual choice and continuity of color and line.Since color and line have been indispensable elements in the composition of the general picture since ancient times,numerous "nodes" can be found in the history where color and line have grown and grown,interacting or conflicting in function and inner concept.At each point in history,the intrinsic tendencies of the two and the reasons for their selection by painting history have further shaped the subsequent history.Therefore,by analyzing the painting traces of each period between Han and Tang and their corresponding painting functions and aesthetic concepts,this paper seeks to find the differences in color and line as well as the continuity and changes in painting concepts implied by history,and attempts to summarize the inner motives that guided the transformation of the overall painting form in the Tang and Song dynasties from the perspective of color.In this paper,the search for the style of Han painting is intended to discuss the influence of the stylistic tone set by the early history on the history of painting as a whole,on the one hand,and to analyse the "new changes" since the Song dynasty in relation to the resort to " simplicity of trace and elegance of meaning ".The painting history narratives of this later period of history are not without traces;The examination of the two conceptions of reproduction in the Han and Wei periods is an important prelude to the turning point in the history of painting,namely the exchange and fusion of the conceptualised image treatment and the ’five colors’ and ’color-like’ conceptions of color in the early tradition with the emphasis on the reproduction of form in the Western painting style from the Wei and Jin dynasties onwards.The exchange and fusion of the formal and qualitative reproduction of the painting style since the Wei and Jin dynasties is a reflection of the local refinement and focus of painting history,and the tendency of this fusion and trade-off is increasingly evident in the evolution from landscape images to landscape painting,from the accumulation of green coloring to the outlining and chapping method.Since the Tang and Song dynasties,the mainstream of painting history has begun to pursue more of an extra-image flavour,in addition to the requirement of ’image truth’,amidst the self-consciousness of tasting theories and changes in painting communities.While this focus on ’rhyme beyond the image’ has an inherited relationship with the aesthetic meaning of Han painting,its conception and structure has shifted.This paper will therefore trace the historical causes of the change in color in Tang and Song painting from three perspectives: the stylistic clues of early painting history,the conceptual divide in the perspective of reproduction,and the aesthetic and communal interests beyond reproduction.