A Study Of Astronomical Images In Chinese Painting

This paper stands in the macroscopic view,taking the Chinese painting astronomical map as the research object,aiming at the rheological changes from the vertical and the Chinese painting,as well as the horizontal and the ideological culture and the schema system of the Chinese painting.Based on the multi-dimensional methods of archaeology and literature,images and symbols,mythology and history,on the basis of constructing the overall image,we will interpret the developmental rhyme,cultural connotation and art form of the Chinese painting.The celestial map has been in existence for a long time,and its embryonic form has already appeared in the Yangshao culture period.After the 30th century BC,the Lianyungang cliff rock paintings were drawn to the 28th star map of the ancestral painting of the tomb of Zenghouyi in the Warring States period.For more than five hundred years,although the astronomical map did not form a fixed pattern and system,it was well prepared in terms of the original concept of the universe,the practical experience of the audience,and the ability of the main body.As a cultural carrier carrying ideological concepts,the astronomical map finally formed a fixed pattern,which was completed in the Han Dynasty.The admiration of the rulers of the Han Dynasty,the advancement of science and technology,and even the influence of social and cultural concepts have all contributed to the formation of the astronomical map of the Han Dynasty,which made the Tianxiang map evolve over the nearly four hundred years of the Han Dynasty and eventually formed.A complete image system.The Chinese painting sky image contains rich images and a wide distribution.The key areas of the 359 astronomical maps in murals,enamel paintings,portrait stone and portrait bricks are not consistent,and the content of each region and various types of images is different.However,as long as you grasp the basic symbols and secondary symbols,you can sort out the commonalities of these images.The main symbol,that is,an image containing one day,month,star or one of them;the astronomical map with secondary symbols,including the meteorological gods such as Feng Bo,Yu Shi,and Lei Shen,and the Western Queen Mother and Taiyi God who first appeared in Taoist thoughts.These are the gods associated with the sky.There is also a secondary symbol that often appears as a background,which is a cloud that represents the stars.The main symbols and secondary symbols are interpreted from the exegesis,mythology and imagery.The three elements of the sun,moon and star are combined into five modes in the Chinese painting sky:one contains the sun,the sun and the sun;the second contains the moon,the moon and related images;The image of the sun and the moon double-hanging,including the black,the scorpion,the rabbit,the laurel;the fourth is the image of the day,the moon,the star and the star,the star often appears with the four gods,with a specific meaning;the fifth is only the star,not including the day,The image of the month,at this time the star is either decorated as a decoration or co-occurring with other gods.These different configuration combinations make the celestial image shape complex and varied.Although the image content is diverse,it is basically arranged in order,well-formed,including the characteristics of change uniformity,full balance,symmetry echo,etc.,forming a variety of artistic styles.Among them,as the creative subject,the craftsman uses the common expression technique in the heavenly image of different art categories through the creation experience and creative concept,that is,by shaping the line,or for carving,or for painting,so that the Chinese painting is reflected in the sky image.The extremely high aesthetic value represents the highest achievement of the Han Dynasty plastic arts.In addition,the Chinese painting celestial map is inseparable from the concept of the heavens in the Han Dynasty.It can be expressed in the three-dimensional space of the coffin and the chamber tomb.Influenced by the social thoughts and cultural atmosphere at that time,the Chinese painting celestial map also embodies the people’s desire to promote the immortal and the star-occupation.In short,the astronomical map of Chinese painting combines various disciplines such as art,archaeology,astronomy,mythology,sociology,and semiotics.Through layer-by-layer analysis,six arguments can be obtained:First,the Chinese astronomical map is in development.The meaning is continually clear and differentiated;the second is that the four gods often appear in combination with the astronomical image,which is regarded as a mythical image with the meaning of astrology,integrating objective celestial phenomena with subjective thoughts;and third,the combination of the celestial map and the gods and spirits.This kind of image generally has the meaning of ascending immortality;fourthly,the exquisiteness of the astronomical map of Chinese painting is not directly related to the identity of the tomb.The fifth is that the celestial paintings of Chinese paintings are rich in the beauty of styling.They are the expression of the materialization of the ideology of the creative subject(artisan).Sixth,the celestial map is widely used in the top of the tomb,the dome and the surrounding,creating a kind of relationship between the heavens and the human beings.The same structure symbolizes the integration of nature,the universe and society into a diverse and unified structural pattern.Due to the long history of the Han Dynasty culture,the astronomical map of the Han Dynasty has had a wide impact on the later generations.The celestial map of the Han Dynasty is not only regarded as a model in art,but also plays a guiding role in the appearance of Taoist images of gods and forms an inextricable connection with people’s secular life.After the Han Dynasty,the astrological map did not disappear,but continued to deepen development in three aspects,namely,Shengxian,Xingzhan,and the performance of the celestial body,thus forming a rich and diverse cultural landscape.