Reconstruction And Style

In the late Ming Dynasty,owing to the convergence of factors including politics,economy,etc.,multiple schools and styles coexisted in the field of Chinese landscape painting in the Jiangnan region.The Wumen School of Painting,which flourished for a period,gradually declined,while the Songjiang School of Painting quickly occupied a dominant position in landscape painting under the leadership of Dong Qichang.Thus,the group of painters in the Jiangnan region,in which Dong Qichang and his Songjiang School of Painting played a core role,benefiting from their strong social and cultural influence,rebuilt a new artistic creation system on the basis of the previous generation’s traditions.In the new system,spatial modeling becomes one of the core contents,and there has been an important turn worthy of attention from spiritual connotation to practical methods.This thesis is divided into three parts: In the first chapter,we will discuss the spatial modeling system constructed by Dong Qichang from a macro perspective,and analyze his main ideas of creation.In the second chapter,we will focus on Dong Qichang’s landscape painting practice,putting forward a series of spatial modeling methods from part to whole embodied in Dong Qichang’s paintings,from the perspective of image and formal language,then try to summarize as a relatively complete artistic language system.On this basis,in the third chapter,we will extend our vision to other solutions to spatial modeling issues by painters in the Jiangnan region within the same period.We will comprehensively analyse the complexity of the development of landscape paintings in the Jiangnan area in the late Ming Dynasty from the perspective of creative practice,and try to provide a new interpretation,beside the view of art history,for the transformation of the spatial modeling methods of landscape paintings during this period.