| Wei-Jin Dynasties was the time when Chinese shan shui painting in its embryonic stage.Mr.Zong Baihua once called it a period of extremely free and emancipated in spirit,as well as a period full of art spirit.The rise of shan shui painting was closely related to the prevalence of various thoughts that dominated by metaphysics.These thoughts encouraged people to get close to the nature,which can be seen in distinguished assembly of scholars,religious activities and shan shui gardening.It is not difficult to see that scholars are more and more consciously exposed to natural,and with the germination of shan shui aesthetic consciousness,nature also began to show more aesthetic characteristics.Through the shan shui poems and fairy poems in this period and the characters in New Account of the Tales of the World,we can see the depiction and expression of natural images in Wei-Jin dynasties,and also change from focusing on the external form to emphasizing the inner gods.Against such background,Chinese shan shui painting emerged,and became an important style in Chinese painting since.What’s more,the creation and appreciation of shan shui painting formed a new aesthetic taste and humanistic feeling,formed a unique shan shui spirit.Through an exploration of the natural aesthetics consciousness in this period at the beginning of the rise of shan shui painting,the significance and value of the preliminary formation of shan shui aesthetic themes in the history of Chinese art and aesthetics were traced back to the early painting theory.And this issue will be divided into two aspects: one is the shift of shan shui image and functional nature,the other is the discussion of shan shui aesthetic themes that influenced by natural aesthetics in WeiJin dynasties.The first aspect will be divided by three parts,first,it can be concluded that shan shui elements have been existing and constantly developing from a variety of colored pottery,tomb murals,brick and stone paintings from the Neolithic age to the Western Han dynasty;then,it introduces three painting theories in Wei-Jin dynasties,and Studies of Mountain Yuntai,An Introduction to Shan Shui Painting,and On Shan Shui Painting,in order to understand the changing course of shan shui painting developing into an independent painting;finally,it concludes that after this style become an independent branch,shan shui no longer appeared as the background,but formed a unique aesthetic object,shifting the artistic function from practical,auxiliary and serve as a background to appreciative feeling.The second aspect takes a Preface to Shan Shui Painting by Zong Bing and On Shan Shui Painting by Wang Wei as examples,exploring the aesthetic taste in the themes,such as enjoy the nature with a peaceful and clear mind,mix painter’s thoughts while doing paintings and enjoy the shan shui painting instead of going out,to carding the particularly early shan shui image and the preliminary formation of shan shui aesthetic themes. |
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