Research On Three Religions Painting In Ming Dynasty

"three-teaching-in-one",is one of the important motifs of Chinese painting.In the Ming Dynasty,"three-teaching-in-one" reached a new height in both depth and breadth,and the number of the three religions paintings increased accordingly.Based on the Ming Dynasty society and the trend of thought of "three-teaching-in-one",this paper makes an integrated study of the three religions in the Ming Dynasty by tracing the allusions of "Tiger stream and three smiles" and the three religions paintings and combing the evolution history of the images.Longitudinally,based on the artistic features of the three religions paintings of the previous generation,this paper explores the inheritance of the three religions paintings of the previous generation in the Ming Dynasty.The image materials and text materials of the three religions paintings in the Ming Dynasty are more abundant than those of the previous generation.The Ming Dynasty painters Liu Jun,Guo Xu,Ding Yunpeng,Chen Hongshou,etc,have drawn the three religions paintings.Under the influence of political pressure,cultural despotism and the retro movement,the three religions paintings of the early Ming Dynasty mainly imitated the image schema of the three religions of the previous generation.The three religions paintings in the middle Ming Dynasty were influenced by the movement of Mind School and ideological liberation,which had a transformative significance for the development history of the three religions.The three religions paintings after the middle period of the Ming Dynasty were elegant and followed the creation concept of retroism,such as Ding Yunpeng painted Three Religions,Chen Hongshou painted Three Religions,Du Junze painted Three Religions,etc.Horizontally,the three religions images drawn by emperors and scholars in the circular pattern of Ming Dynasty are taken as samples to explore the innovation of the three religions paintings in schema and creation concept of Ming Dynasty.The three religions in the Ming Dynasty also show the characteristics of folklore and popularity and are highly innovative.For example,Emperor painter Ming Xian zong created a new pattern in the Song of Harmony,the book illustration the Three Religions in One,and Zhu Zaiyu painted Three Religions and Nine Streams in One.Liu Jun,Guo Xu,Chen Hongshou and Shi Dandang all painted Three Smiles on the Tiger Stream.These works with a strong sense of common people broke the monopoly of the three religions paintings on behalf of the upper class’ s elegant artistic style and aesthetic purview,and had a progressive significance for the development of the three religions paintings.Through the above research,the purpose is to explore the characteristics of the three religions paintings in the artistic style and aesthetic purport of the Ming Dynasty.The artistic style and aesthetic purport of the three religions in Ming Dynasty are "elegant" and "vulgar" at the same time.The three religions paintings in Ming Dynasty is not only the concentrated embodiment of the traditional of the three religions paintings in the previous generation,but also opens a new development path of the three religions paintings in the later generations,and plays a connecting role in the development of the three religions paintings.