A Study Of The Figure Of The Carrying Cane In Chen Hongshou’s Paintings

The cane was initially used for practical purposes,often as a walking aid,but later on the basis of practicality,it was constantly extended with new connotations due to the different identities and allusions of the people who used the cane,the ancient preference for metaphorical meanings and the use of objects to express their aspirations,such as the literati who used it to boast the ambition of the forest and spring,and gradually appeared in paintings.As an element in painting,the figure of the cane appeared in portrait stones and bricks as early as the Han Dynasty,and continued to develop from the Five Dynasties to the Song and Yuan Dynasties,reaching a peak in the Ming Dynasty.This paper focuses on the image of the carrying cane in the paintings of Chen Hongshou,a painter of the Ming Dynasty,which is very representative of the Ming Dynasty.This paper analyzes the motives,artistic expressions,and metaphorical nature of Chen Hongshou’s carrying cane figures from various aspects such as social background,artist’s life experience,and artist’s psychology,and interprets the relevant representative works on the basis of combing and mastering the textual documents,images,and other related resources of the cane and Chen Hongshou’s carrying cane figures.This paper mainly discusses Chen Hongshou’s characterization of the carrying cane in detail through four chapters.The first part focuses on the connotation of the cane and the development and evolution of the figure of the carrying cane,mainly on the definition of the concept of the cane,the relationship between the cane and the figure of the carrying cane,the cultural connotation of the cane,the cane in literature,the origin and development and evolution of the figure of the cane in painting,etc.These are to show that the cane and the figure of the cane appeared long before the figure of the cane in Chen Hongshou’s painting,and it did not appear out of nowhere,but was There are traces.On the basis of the first part,the second part delves into the motives for the emergence of the figure of the carrying cane in Chen Hongshou’s paintings,explaining them in terms of the commodity economy catalyzing the flourishing of artifacts and the demand for identity flaunting under the merging of scholar and merchant.The third part analyzes the classification,artistic expression and functions of the figure of the carrying cane in Chen Hongshou’s paintings,and The fourth part focuses on the metaphorical nature of Chen Hongshou’s figure of the carrying cane,which mainly includes the episode of the relic,the thought of Confucianism,the mentality of the hermit and the identity of the monk.In conclusion,the previous studies on the figure of the carrying cane mainly focus on the Song and Yuan dynasties,but this paper focuses on Chen Hongshou’s figure of the carrying cane in the Ming dynasty,with a more detailed study of Chen Hongshou’s paintings,extending the scope of the study of the figure of the carrying cane to the Ming dynasty and further supplementing the study of the element of the figure of the carrying cane in paintings.