On The Artistic Conception Space Of Ancient Chinese Landscape Painting

Because of the influence of taoism and the special preference of chinese ancients for poetic space,the spatial construction of landscape painting finally points to the presentation of artistic conception,and the unintentional landscape painting is not chinese.Artistic conception is not only a kind of control and sublimation of the spatial images of landscape painting,but also an ideal world beyond the limitation of time and space that art creators pursue in the scale.The introduction part of the thesis,combing the spatial research status of ancient landscape painting,found that although scholars noticed the importance of landscape painting artistic conception,but rarely from the perspective of space,deeper into the ancient landscape painting,And landscape painting unique spatiality reflects the Chinese ancients what kind of space ideal? Based on this,this paper takes the space of landscape painting as the entry point,and combines the highest aim of chinese artistic creation-the artistic conception,goes deep into the core of landscape painting,and thinks that the space characteristic of chinese ancient landscape painting is the artistic conception space.In the first chapter,combining with liu yuxi's important proposition of "the environment is born outside the image ",it points out that the relationship between the zartistic conception of landscape painting not only depends on the spatial image but also transcends the concrete image,which not only makes up the limitation of the concrete image,but also broadens the connotation and depth of the image,and adds its transcendent nature element.Then from the point of view of formation,the author discusses how landscape painting transcends the concrete image and presents the spatial characteristics of artistic conception,that is,it starts from the development of society,takes the time of space as the motive force,and finally presents the unity of reality and vanity through the shaping of poetic atmosphere field.The concrete performance and how to influence the construction of landscape painting space beauty,the concentrated embodiment is in the creation process of the whole,Liaoyuan,dilute,virtual quiet,body and Tao from the beginning to the end of the five characteristics of the penetration and pursuit,these five characteristics from the surface to the inside,from the part to the whole gradual deepening and sinking,build the unique charm of Chinese landscape painting;the third chapter based on the appreciation level,from the perspective of theviewer to see the artistic conception of landscape painting space,to explore how this transcendental space beauty is ultimately condensed into the four ideal spaces? And why the landscape is not as feasible as living and swimming? The predilection for living and swimming reveals art What is the inner world and spiritual purport of the artist? Finally,on the whole,the reflection on the artistic conception space of landscape painting,combing out the essence of its "Taoyuan style" space,that is,the solidification of time,the publicity of space,the politics of obscurity,this is the ideal space carefully constructed by artists,which makes the main body spirit and mind masturbate and satisfy,but also has the limitation that cannot be ignored: one,the escape or disregard of the vast real life,the two,the preference for the special spiritual interest,the obsession with the Taoyuan world,and the high type of ancient Chinese landscape painting.