A Brief Analysis Of "The Autumn Colors On The Ch-iao And Hua Mountains" And Its Inspiration To Individual Artistic Creation

Painting creation is not only the description,sketching and copying of objective scenes and things,but also the artistic re-creation in the process of artistic creation.On the basis of objective scenes,ontology’s thoughts and emotions are integrated,subjective emotions are expressed through objective things,form a work of art with personal characteristics and ideas.Zhao Mengfu,was born in the southern song dynasty,died in the early Yuan Dynasty,is a descendant of the clan in the Southern Song Dynasty.Zhao Mengfu is erudite and versatile,has made certain achievements in many areas,especially in the field of art,such as calligraphy and painting,literature,poetry,music,etc.The achievements in the field of painting is the highest.Zhao Mengfu did not realize its ambition for career in his life,so he took his mixed feelings involved in the art practice of exploration,and through his own continuous efforts for the history of Chinese art to write a brilliant page.From the Yuan Dynasty,various ethnic groups intermingled with each other.However,because the rulers at that time practiced racial discrimination in politics,many literati had ambitions but could not expand.Therefore,they often expressed their inner distress through calligraphy and painting,the style of literati painting gradually became the mainstream of the painting world at that time.The group of Literati painters like Zhao Mengfu kept growing and the development of literati painting became more and more prosperous.In the process of continuous practice,Zhao Mengfu proposed many new artistic principle,under the mutual influence of creation and perception,theory and practice,new explorations are constantly carried out.This article selects one of his most representative works,“The Autumn Colors on the Ch-iao and Hua Mountains” for analysis.This article is to collate and study the relevant materials of Zhao Mengfu’s works “The Autumn Colors on the Ch-iao and Hua Mountains”.The first chapter begins with the land forms,historical origins and on-the-spot textual research of the two mountains,namely,Queshan Mountain and Huashan Mountain,in the second chapter,the author introduces the background of the creation of “The Autumn Colors on the Ch-iao and Hua Mountains”,which is based on the related materials of the Magpie Mountain and the Hua Mountain in “The Autumn Colors on the Ch-iao and Hua Mountains”,in the third chapter,from the perspective of the composition of “Ping Yuan method” in the painting,the author introduces Zhao Mengfu’s ideas of “learning from the ancients”,“painting and calligraphy are of the same origin”and “The clouds and mountains everywhere are my teacher",in the fourth chapter,on the basis of the preceding several parts,the author analyzes and studies the painting parts in the book of “The Autumn Colors on the Ch-iao and Hua Mountains” through the use of the texturing brush strokes of hemp and Lotus leaves,as well as the figure spots and scenes in the painting and the creation of artistic conception,combining with my own painting creation,this paper analyzes the relationship between the composition of the painting and the Artistic Conception,and demonstrates the enlightenment of “The Autumn Colors on the Ch-iao and Hua Mountains” to my artistic creation.This as Zhao Mengfu representative works,can fully embody the pursuit of traditional under the premise of restoring ancient ways,to the exploration and pursuit of Qingyuan’s elegant artistic style,it also indicates the gradual development and perfection of the green landscape of the Zhao family,it is constantly under the influence of this artistic pursuit,the spirit of innovation has led to a new generation of literati painting,it has made great contributions to the development of art and literati painting in the future.