Reinterpretation Of "Pictographic Representation Of Objects"

As an important principle and standard for the creation and evaluation of traditional Chinese painting,the concept of "Pictographic Representation of Objects" comes from Sheikh’s "six methods".This concept has gradually become a universal rule and criterion for summarizing all painting creations,and has played a guiding role in the development of Chinese painting creation and theory.As the starting point and core of the understanding and creative activities of ancient Chinese painting,"Pictographic Representation of Objects" focuses on the construction of the painting subject "person" and aesthetic object "object" to the painting content "shape".It embodies the consistent and in-depth aesthetic experience and creative thinking in Chinese painting creation.The thesis is divided into four chapters.In the introduction section,the research purpose of this topic is described,and the current research status of the concept of "Pictographic Representation of Objects" by scholars at home and abroad in modern times is summarized.It is proposed that "Pictographic Representation of Objects" discusses the essence of painting creation,and the reinterpretation of this concept still has research value.The first chapter traces the origin of the concept of "Pictographic Representation of Objects",explores the origin of "Pictographic Representation of Objects" from the perspective of the "Six Laws Theory",the interpretation of the word,and the preface of Sheikh,and combs the relationship and development between "Pictographic Representation of Objects" and landscape painting theory.Summing up this concept is not only a simple depiction of natural objects,but also a focus on the subject "person" and the aesthetic object "object" of the painting,and thus developing the modeling of taking "image" into "shape".Starting from these two pairs of relationships,the concept of "Pictographic Representation of Objects" is reinterpreted based on the theory of landscape painting of past dynasties.The second and third chapters capture the tendentious content of painting theory from past dynasties,analyze and comb the aesthetic experience,creative thinking,and specific painting works of ancient sages through the combination of historical theory and iconographic research methods,and experience the extension of the concept of "Pictographic Representation of Objects".In the layered aesthetic experience of traveling and observing objects,matching objects,and responding to objects,painters master the "form" and "reason" of objects to achieve the fusion of human and object life.Then,from the outside to the inside,from the outside to the inside,they finally develop a creative thinking of seeking "truth",writing "life",and taking "image" into "form".The fourth chapter analyzes the contemporary transformation of "Pictographic Representation of Objects".The expansion of the concept of "image" has led to the transformation of aesthetic experience and creative thinking of contemporary viewers and painters,and ultimately found the important significance of "Pictographic Representation of Objects" in the transformation of modernity.Chinese painting needs to change with the times,but it should respond to the "times" with "history".Therefore,we can grasp the foundation of China’s painting art creation-"Pictographic Representation of Objects" and make this concept glow with endless vitality.