Research Of Waterfall In GuoXi’s Painting

When drawing water gaps and waterfalls,how should we start from? From some of Guo Xi’s works handed down,on the one hand,it is the natural phenomenon of "looking at the place where thousands of rivers converge",and on the other hand,it is the ingenious thinking of linking the "three distant" mountain scenery.In either way,it is the spirit manifestation of Guo Xi’s "not going to the banquet,but sitting in the spring and gully" in the special period.In the middle and later period of the Northern Song Dynasty,the initial system that had stabilized the situation had produced a lot of malpractices,class contradictions became apparent,civil land annexation,dignitaries had a tendency of doting,and chaos occurred frequently.In the field of culture,the legacy of the Huang-Lao trend of thought has not been exhausted,the Shenzong’s Wang Anshi reform has not been fully used,and the Neo-Confucianism trend of thought is also rising.This is the most complex transitional stage in the history of the Northern Song Dynasty.Under this background,Guo Xi’s artistic thinking is both comprehensive and comprehensive,and is also full of real feelings.From his role positioning of the water inlet and the waterfall in the picture,as well as the summary of the painting method,We can see this tendency of thinking.Based on the theoretical support of Guo Xi’s description of the painting of water and waterfalls in Lin Quan Gao Zhi,and based on the induction and inference of the map of water and waterfalls in some of Guo Xi’s works,this paper attempts to summarize the paradigm system of Guo Xi’s painting of water gaps and waterfalls in this special era.For this purpose,from the perspective of rational thinking,perceptual thinking,and the objective inheritance of painting,Discover and sort out the general laws of Guo Xi’s painting.The understanding of this law can be applied to the landscape creation of contemporary youth,to see the big from the small,and to inherit the spirit.