The Regressive Posture And Modernity Of Fu Shan And Fu Mei’s Sons Landscape Painting

This paper takes Fu Shan and Fu Mei’s landscape painting as the case study objects in the late Ming and early Qing dynasties,and explores the relationship between Fu Shan’s painting exploration and modern social improvement and revolution.Based on the comparative framework of east-west culture,this paper makes a comparative analysis of the general agreement and difference between the western and western enlightenment thoughts and the retreat of art.In the course of this study,literature research,comparative analysis,case studies,sociology and so on are used Research method.In particular,the analysis of Fu’s father and son landscape painting,using the formal analysis method,and the form and emotional thoughts,personality ethics linked,in order to their painting spirit more in-depth,more rich three-dimensional interpretation.The innovation of this paper is the introduction of the concept of retreat,which is not only in the history of western art,but also in the history of Chinese art.This paper establishes the creative space of interpretation and comparison with phenomenological methods and Taoist thoughts,so that the concept of retreat transcends the limitation of single psychological empiricism.Most of the previous related papers,the idea is mostly limited to a single isolated Chinese book theory,painting theory interpretation category,The interpretation of Fu’s painting and calligraphy concept has not been traced back to the original text context of Qin and Han dynasties,nor has it been confirmed by mutual communication with western modern literary and artistic theories.This paper uses a variety of subject methods to carry out multi-angle argumentation and interpretation to avoid the circular argumentation and stereotypes caused by a single discourse system.