Zhang Yanyuan’s Interpretation Of "Qiyun" Theory

"Qiyun" in "Six Approaches" has always been regarded as the supreme law for guiding Chinese painting creation and aesthetics since it was proposed by Xie He in the Southern Qi Dynasty.Zhang Yanyuan in Tang Dynasty made a specific interpretation of "Qiyun" theory in his work on painting history,Notes of Past Famous Paintings,in which he proposed the point that "resembling vigor of style and artistic conception are based on conception and regress back to pen" on the basis of Xie He’s view of "Qiyun",which further highlights the determination effect of "pen"on "vividness" and carries out the expression of "vividness" and "Qiyun" into the practical operation method level.The interpretations of artistic conception in later Chinese painting works are accomplished and realized on the basis of Zhang Yanyuan’s view on "Qiyun".In Yu Shaosong’s comments on Notes of Past Famous Paintings,he said:"the importance of this book to painting history is the same as that of Shi Ji to official history.",from which the vital significance of Zhang Yanyuan’s"Qiyun" and The famous paintings through the ages can be indicated.In addition to the introduction and conclusion,there are four chapters in this paper.Firstly,the introduction explains the proposal,meanings,overview of current research situations and research methods of the topic.The first chapter mentions Zhang Yanyuan himself and his works,including textual research on his life experience,family history and writing background.Tang Dynasty was prosperous,painting and calligraphy were popular.The writing atmosphere of painting history and theoretical research also rose.The book Notes of Past Famous Paintings was created at that time.Three thoughts of Confucianism,Taoism,Buddhism,especially their theories about temperament,had a direct influence on Zhang Yanyuan’s painting thoughts(especially for his "Qiyun" theory).Zhang Yanyuan was born in the famous family,the numerous and valuable family painting and calligraphy collection provided a wide range of research materials for him.The communication with reputable and refined scholars also enriched and updated his painting ideas.Since his childhood,Zhang Yanyuan received good education in painting and developed a good aesthetic taste.The official experience that became the minister of Dali Temple during his adult stage offered the basis and conditions for him to write Notes of Past Famous Paintings.The second chapter discusses the origin of his view of "Qiyun",including origin of his view of "Qi",origin of his view of "Yun",the relationship between character quality and unity of body and the spirit in Wei-Jin and Southern and Northern Dynasties.His ideological origin is also analyzed and discussed from these three aspects.In this chapter,the paper firstly describes the the generation,meaning and changing process of application scope of the concept of "Qi" and "Yun",and then describes the process of combining the two concepts into the artistic concept.It also refers to the trend of the characters in the Wei,Jin and the Northern and Southern Dynasties,the spirit-giving theory of Gu Kaizhi,and Xie He’s six principles theory of painting have a direct influence on the formation of Zhang Yanyuan’s "Qiyun"theory.The third chapterTdemonstrates relationship between "Qiyu" and "Ziran"and the relationship between "Qiyun" and "Guqi".It also discusses Zhang Yanyuan’s view of"Qiyun" in detail:resemblance is not depreciated;artistic conception goes beyond pen;the expression of artistic conception should rely on "conception" and "pen".The paper defines the painter as a "talented recluse",only a "talented recluse"can create a painting with "Qiyun".In this chapter,the author mainly analyzes the uniqueness and innovation of Zhang Yanyuan’s "Qiyun" theory.It is closely related to the "Ziran" and"Yige".His artistic concept of spirit and charm focuses on emphasizing a plain,simple,natural and soft aesthetic taste,which has an important impact on the formation of "Yige" concept in the Northern Song Dynasty,and thus affecting the literati painting style after Northern Song Dynasty.The fourth chapter discusses the influence of Zhang Yanyuan’s painting view of "Qiyun" on Chinese painting history.The fourth chapter discusses the inheritance and development of painting thought of Zhang Yanyuan’s artistic concept of spirit and charm in later generations.It mainly discusses the concept of "self-cultivation and practice for Qiyun" proposed by Guo Ruoxu in the Northern Song Dynasty,the "scholar-official painting" advertised by Su Shi in the Northern Song Dynasty,the "Guyi" and "calligraphy picturesque"and the "theory of south and north sects" advocated by Dong Qichang in Ming Dynasty,and these painting ideas are generated and developed under the influence of Zhang Yanyuan’s "Qiyun"...