A Study On The Painting Types Of Rubbing Paintings In The Late Qing Dynasty And The Republic Of China

This article selects "Rubbings Painting" as the research object and intends to explore it from the perspective of "painting types".Firstly,the study of rubbings can enrich the history of Chinese painting and showcase another ’possibility’ of Chinese painting.Secondly,studying rubbings from the perspective of painting types requires small incisions,wide radiation,and strong penetration.It not only involves artistic creation,acceptance,criticism,and other theoretical aspects,but also can penetrate various painting types from the perspective of "comparison" and "relationship" to reveal the essential characteristics of rubbings.The first chapter provides a preliminary definition of the research objects of this article,namely "painting types" and "rubbings painting".As for the former,the author draws inspiration from relevant research on "genre" and attempts to define "painting type":painting type refers to the overall naming of a certain number of paintings with common characteristics or attributes that have been summarized from a certain classification standard in the vast array of paintings.As for the latter,first of all,we will use "extension into painting" as the classification standard for rubbings.From the perspective of the relationship between works and types,we will name "rubbings painting" as the type of painting,and then subdivide it into two secondary types based on the specific appearance of the works in the type:"rubbings eight broken paintings" and "rubbings supplementary paintings".Secondly,from the perspective of the relationship between works,namely the "intertextuality",and by comparing it with painting types such as screen paintings in the history of painting,the characteristics of "overall appropriation" of rubbings are discussed.The conclusion is drawn that rubbings are better at visual effect construction and "form" shaping,but not good at narrative and "metaphorical" stylization.The "overall appropriation" creates a tension between the rubbings and the previous text,which creates an artistic interest.The second chapter discusses the classification criteria for rubbings.The classification of rubbings can be explored from the perspectives of "content","form",or "content","form",and "viewing".From the perspective of "content" and "form",we have constructed a discussion paradigm of "object painting method",focusing on the discussion of "painting object" and "writing form" and "freehand brushwork" painting methods.We have come to the conclusion that after the "content" of rubbings is determined,starting from the classification criteria of "form",rubbings can be divided into two categories:writing form rubbings and combining form and meaning.For the latter,it can be further divided into three categories:"overall appropriation" type;The "local ambiguity" formula;The formula of"virtual signifier".Similarly,rubbings can be divided into three categories:form based rubbings,freehand rubbings,and both form and meaning based rubbings.For the latter,it can be further divided into two categories:"overall appropriation" type;The ’Yingtuo makes old’ style.From the perspective of "content","form",and "viewing",the author has sorted out seven types of painting under the concept of ternary classification,and positioned the types of rubbings painting.The conclusion is that starting from "viewing",the two classification standards of "content" and "form" are given in order of viewing,thus dividing them into seven types of painting.Rubbings painting spans four types,wandering in illusion painting,photo realistic painting,concrete painting There is a "momentum" between the four types of concrete expression painting and a leap towards expressive painting.The third chapter points out the essential characteristics and core elements of the Rubbings painting type,"Tuo Neng",and conducts a detailed reading of the text of Rubbings painting to further explore the characteristics of this painting type.The writing ideas of this chapter are:why "Tuo" is used in painting,how "Tuo" is used in painting,the relationship between "Tuo" signifier and other signifiers,and the construction of aesthetic categories based on painting style.In the first section(why "Tuo" is used in painting),the author discusses three types of "meta language" conflicts in rubbings:firstly,rubbings and paintings exist as objective objects but belong to different categories.Secondly,the "painting" that rubbings break into is traditional Chinese painting,and the subject matter of traditional Chinese painting has certain preferences,and not all things are willingly represented by traditional Chinese painting.Finally,from the perspective of the inherent functions of rubbings and painting,we can see the conflict between the two ’meta languages’.Rubbings point to "authenticity",while painting points to "fiction","aesthetics",and "art".In the second section(how "Tuo" is used in painting),the author uses the relevant theories of semiotics to analyze the integration of the three characteristics of "Tuo" in the rubbing painting,namely,"object","medium" and "carrier",especially for the prominence of"carrier",to construct a unique way of viewing.In the third section(the relationship between"Tuo" signifier and other signifiers),the author places the "Tuo" signifier on the network of signifiers in the picture,discusses it from the perspective of the "relationship" of various signifiers,analyzes various elements of rubbings painting using the "double axis relationship theory" in semiotics,and selects or expects more excellent rubbings painting:for eight rubbings,first,reduce the number of elements in the combination axis,Raise the selection criteria for elements in the aggregation axis;2、Further specify the arrangement and order of each element in the combination axis to avoid disorder in the adjacency relationship of elements in the combination axis;3、Set the key and main signifiers in the combination axis at important positions on the screen;4、Unify the style of many elements in the dual axis,forming a secondary style without breaking the "chaotic" tone.For rubbing painting,firstly,increase the richness of elements in the combination axis;2、Further screening of rich candidate elements in the aggregation axis,and more "pondering" on creative methods to highlight personalized meanings;3、The combination axis of "carbon copy" increases the richness and more personalized expression of the screen.In the fourth section(Construction of Aesthetic Categories Based on Painting Style),when the overall appearance of the Rubbings painting type is fully understood,the work to be done in this section is to summarize and summarize it at the theoretical level.The categories of "strange and familiar"and "interesting and elegant" are easy to construct based on the aesthetic category of painting style.The fourth chapter takes a"holistic" perspective to examine the boundaries of rubbing painting types on the basis of the comprehensive understanding of the types of rubbing paintings established in the previous three chapters.The author believes that the clear boundaries of the type of rubbings in painting can be attributed to the multi-level arrangement of classification standards:from the initial visual signifier,to the choice of artistic means,and finally to the ultimate signifier.The control efforts at each level gradually increase.The breakthrough of the boundary of rubbings painting type occurs at the level of"artistic means",ultimately manifested as changes in visual signifiers.The most meaningful works of rubbings are neither works that cling to the boundaries of the type nor works that leap out of the boundaries of the type,but works that have the momentum to leap out of the boundaries.After analyzing the issues related to the boundaries of rubbings,the author reflects on contemporary painting:excellent painting works should be born under the constraints of "type" in order to possess artistic character.Artistic works that have made breakthroughs based on tradition have more artistic qualities.