Research On The Image Of“Traveler”in Landscape Painting Of Ming Dynasty

The image of the traveler exists in literature and art works with different identitie s in different times and forms the symbolic figure of “running and living outside”,an d “travel and tour on the way”.It appeared in literary works as early as the pre-Qin pe riod,and was carefully selected by painters and used in painting creations and has bee n inherited and developed until the Ming Dynasty.The image of the “traveler” in the l andscape painting of the Ming Dynasty,under the promotion of the main alliance pain ting schools of the Zhejiang School,Wumen,Songjiang and other periods,presente d a painting style from “secularization” to “coexistence of refined and popular” to “de-vulgarity and refinedness”.Although the inheritance of the painter’s style has produc ed a certain image formula for the vivid expression of the traveler in the painting,it al so has its own features.It not only has a new touring schema and a farewell schema b ased on the predecessor’s traveler image,but also has a self-created travelling schem a.Beyond that,there has a symbolic schema constructed on the graphic and textual ba sis of the first three.At the same time,along with the generation of the painting sche ma of the traveler in the painting,the selection of its symbolic characters also has a sy mbolic tendency,but it has also been innovated on the basis of the predecessor’s trave ler image symbolic characters.However,whether it is the old or the new appearanc e of the traveler image,it can be uniformly divided into four types of symbolic charac ters: “the immortal symbol”,“the profound scholar symbol”,“the official symbol” an d “the farmer symbol”.And because of its artistic features and forms of expression i n Ming Dynasty landscape paintings,it can reflect the traditional Chinese aesthetic th oughts represented by Lao-Zhuang philosophy and Confucianism,such as “tour”,“em otion”,“truth" and“light”.Therefore,the traveler image in the landscape painting of t he Ming Dynasty can be regarded as the crystallization of the artists’and the cu ltural accumulation of traditional aesthetics.It has aesthetic significance and artistic va lue that can’t be ignored and it has the great significance in the history of Chinese art.