On The Formal Style And Aesthetic Connotation Of Chinese Bapo Painting

“Chinese Bapo Painting”,also known as “Jinhuidui”(meaning “a pile of brocade ashes”),“Jipo”(meaning “the collection of scraps”),and “overturn the paper basket”,is a special traditional Chinese painting type.“Chinese Bapo Painting”use meticulous and realistic techniques to depict broken images such as scraps of food,paintings,gold and stone carvings,antiques,and banknotes.Starting with the“Chinese Bapo Painting”and its related concepts,the inheritance relationship between the “Chinese Bapo Painting” and the “Jinhuidui” is clarified.The focus of this thesis is to systematically sort out and study the form,style and aesthetic connotation of the “Chinese Bapo Painting”.Through analyzing and studying the special historical background of the development of fine brushwork of flowers and birds in the Song Dynasty,the prevalence of gold and stone carvings in the middle of the Qing Dynasty,the custom of“honoring and cherishing the calligraphy and paper”in the late Qing Dynasty and the early Republic of China,and the prosperity of the calligraphy and painting market in the Republic of China,it is found that the key points of the transformation of the form of “Chinese Bapo Painting” are: the high development of painting in the Song Dynasty has prepared the thought and technique for the emergence of “Chinese Bapo Painting”;In the middle of the Qing Dynasty,under the influence from fashion like “Bogu pattern”(meaning “pattens of ancient artifacts”)and gold and stone carvings,Monk Liuzhou introduced Bogu pattern,calligraphy and other themes into the “Chinese Bapo Painting”;Because of the custom of “respecting and cherishing the paper with characters on it ” in the late Qing Dynasty and the early Republic of China,and the disaster of the book collection in Jiangnan area,“paper with characters on it” became the main theme of “Chinese Bapo Painting”;The prosperity of the calligraphy and painting market in the Republic of China made the painters of the Republic of China begin to cater to the aesthetic taste of the civil class,and the theme of“Chinese Bapo Painting” was expanded.In the process of the form transformation of“Chinese Bapo Painting”,its aesthetic connotation is also changing.First of all,this thesis clarify the historical development of the “incomplete beauty” in the Chinese Bapo Painting,and then explore the feelings of “ cherishing the ancient ” and“bemoaning the present” implied in the “incomplete beauty” by analyzing the Chinese Bapo Painting from different periods,the personal experience of the Chinese Bapo Painting painters and the social and cultural environment at that time,and finally elaborate the auspicious implication and secular expectations of the“incomplete beauty”in the Chinese Bapo Painting of the artists of the Republic of China.