The Application Of The Landscape Painting Patterns Of The Two Song Dynasties In The Creation Of Xinjiang Landscape Painting

As a golden period of change and development in Chinese landscape painting,the two Song dynasties produced two distinctive styles of landscape painting.The ’panoramic’ composition of the Northern Song and the ’corner’ composition of the Southern Song.Influenced by the ideology of the Song dynasty,Northern Song painters pursued the ’reason’ of natural creation and the ’reason’ of righteousness in their landscape paintings,pursuing the ’grimoire of reason’ and the ’picture of truth’."The Southern Song painters,influenced by cultural and regional influences,put emotion into the landscape,simplifying the depiction of objects and focusing on the expression of mood,giving the picture an infinite mood with limited scenery.The aesthetic values and cultural connotations contained in the landscape painting style of the two Song dynasties have had an irreplaceable influence on the style of landscape painting of later generations.Xinjiang’s unique geographical environment and diverse cultural characteristics have contributed to the diversity of its landscape painting themes and styles.Although Xinjiang landscape painting has no established formula or painting style,it presents distinctive regional aesthetic characteristics,spiritual and cultural connotations and contemporary outlook,making it distinctly different from the creation of landscape painting in the mainland,and has advantages in terms of natural and cultural resources.The use of the composition and perspective rules commonly used in Song landscape painting can clearly express the regional landscape of Xinjiang and reflect the majestic and imposing nature of its mountains and rivers.Therefore,the author upholds the creative philosophy of "inheriting tradition,staying close to life,focusing on innovation,and expressing the times",and applies the landscape painting patterns of the two Song dynasties and their aesthetic contexts to the creation of landscape painting in Xinjiang,focusing on the overlay of Xinjiang’s regional landscape,cultural connotations,and the atmosphere of the times,so that the works have a regional and contemporary character,which will provide the author with the basis for his future This will provide some theoretical and practical value for the author’s future creation of regional themes in modern landscape painting.The thesis focuses on the application of landscape painting patterns in personal creation in the two Song dynasties in five aspects: firstly,it analyses the reasons for the formation of landscape painting patterns in the two Song dynasties,from three aspects: academic thinking and painting theory,geographical environment and cultural style;secondly,it analyses the characteristics of landscape painting compositions and their spatial aesthetic features in the two Song dynasties,and maps out the artistic concepts and spiritual connotations through the above analysis;thirdly,it elaborates on the general development of landscape painting in the Song dynasties,the influence of regional and cultural characteristics on the creation of landscape painting in Xinjiang,and further introduces thoughts on regional creative practice;fourthly,it discusses the development of landscape painting in Xinjiang,and the influence of regional and cultural characteristics on the creation of landscape painting in Xinjiang.The third is to elaborate on the development of landscape painting in Xinjiang,the influence of regional and cultural characteristics on the creation of landscape painting in Xinjiang,and to further introduce thoughts on regional creative practice.Fifthly,on the basis of the traditional landscape painting style of the two Song dynasties,the author innovates in the form of composition and the content of the scenery according to the regional appearance and humanistic spirit of the subject,and then uses the appropriate artistic language and expression to present the regional characteristics and humanistic spirit of Xinjiang in the creation of landscape painting,while highlighting the new style of the times.Finally,the discussion in this essay has enabled the author to gain a more thorough understanding of the pictorial style of landscape painting and its aesthetic mood in the two Song dynasties,and to apply it to creative practice,providing some thoughts on compositional forms and aesthetic pursuits for the future creation of landscape painting in the exploration of regional themes in modern landscape painting.