Study On The Characteristics Of Landscape Painting Space In Yuan Dynasty Under Seclusion Complex

There are many cases of studying the spatial expression of landscapes in traditional Chinese painting theory.From the Han Dynasty period,the awareness of landscape space was already present in the portrait bricks and portrait stones,and it was expressed to the Southern Dynasty painter Zong Bing in the "Preface to Painting Landscape",where he proposed that"the vertical painting is three inches,when the height of a thousand feet,and the horizontal inking is several feet,the body is a hundred miles wide.This is a richer presentation of space based on the childish space of the Han Dynasty,and he also proposed the idea of "reclining",so at this time already had a detailed record of the space of the picture.After Zong Bing,Guo Xi of the Song Dynasty proposed the "three distances" method as a style for creating the space of landscape painting,which gradually enriched the performance of landscape space.At the same time,the discovery and study of landscape space,as one of the important picture constructions and theoretical supports in the history of Chinese painting,requires constant research and innovation,which is of great value for us to be familiar with the presentation of landscape space and the expression of aesthetic mood of the picture and the creation of landscape painting.This paper mainly focuses on the two points of the hermitage complex and the spatial creation characteristics of Yuan Dynasty landscape painting,analyzing and researching from the origin and development of the spatial awareness of Yuan Dynasty landscape,the historical origin and spatial transformation of the hermitage complex in landscape painting,the relationship between the hermitage complex and the spatial order expression of landscape and the spatial creation characteristics of landscape,the creation of the aesthetic mood of landscape space and its influence and artistic value on later generations.Firstly,the historical changes in the development of the complex and the diversified development of landscape space are elaborated,with emphasis on the relationship between the expression of the hermitage in Yuan dynasty landscapes from the perspective of traditional philosophical thought and Tao Yuanming’s poetic hermitage in the Jin dynasty;secondly,the spatial operation of Chinese landscape painting,as a unique viewing viewpoint in China,differs from the Western perspective of focal perspective,and has carried the unique philosophical concept and family sentiment in China since ancient times.Therefore,we discuss the characteristics of the construction of the space of hermitage in Yuan Dynasty painting and the presentation of the elegant and leisurely spatial mood brought by the relaxed brush and ink and the spirit of hermitage;finally,we express the spatial aesthetic spirit of Chinese painting in terms of the aesthetic mood of the hermitage space of landscape,which also paves the way for the diversified presentation of the hermitage mood in Yuan landscape creation,and also promotes the innovation and development of landscape painting creation.This paper presents the works of literati painters in the form of image analysis and textual analysis by means of literature reading,example argument,image analysis,comparative examination,and inductive summary.Starting from the analysis of the hermitage complex,the retrospective relationship of spatial consciousness,and the characteristics of creation,this paper summarizes the changes in the creation of landscape space and the ideological changes of the hermitage complex in different styles in the works of painters such as Zhao Mengfu and Yuan Sijia in the Yuan Dynasty,and then analyzes the This study will pave the way for the subsequent arguments.This study has important practical significance for strengthening the spirit of the aesthetic thought of spatial consciousness in our Chinese paintings and for later planning theoretical research and writing,and it also demonstrates the influence and embodiment of the Yuan Dynasty’s reclusive sentiment on the characteristics of spatial creation in landscape painting through the traditional Chinese philosophical thought of Confucianism,Buddhism and Taoism as an example.