Explore The Evolution Of Landscape Painting From "the First Three Distances" To "the Last Three Distances"

Landscape painting originated in the Wei,Jin,Southern and Northern Dynasties,initially only as the background of figure painting,with the characteristics of "people are greater than mountains,water can not be flooded",until it became an independent category of Chinese painting,after thousands of years of development,formed a sound theoretical system of painting.Guo Xi,a painter in Song Dynasty,put forward the "Three Distances Method",which made a concrete exposition of the space concept of landscape painting,played a decisive role in the history of the development of landscape painting and had a far-reaching impact on later generations.Han Zhuo,another painting theorist after Guo Xi,put forward "Housanyuan" on the basis of Guo Xi’s theory,which extended Guo Xi’s "Pingyuan",especially discussed the hazy feeling of water law,and opened up a new development trend of Jiangnan landscape in the Southern Song Dynasty.Guo Xi’s "first three distances" to Han Zhuo’s "last three distances" is not only the change of theoretical level from north to south,but also the result of the improvement of understanding,the change of thought and the close combination of theory and practice on the basis of previous painting theories.The painter’s thoughts and aesthetic propositions behind the "three distances" are the key and significance to study the evolution from the "first three distances" to the "last three distances".The development of aesthetic category is largely influenced by the spirit of the times and philosophical thought.The space category of landscape painting is "far",which has rich cultural connotations and philosophy.In the long evolution of history,"yuan" was endowed with different meanings in line with the characteristics of the times,until the Song Dynasty,it was included in the space observation rule of "Three yuan Laws".The strategies and ways of governing the country of the rulers of the Song Dynasty left a deep imprint on the social environment and cultural development at that time,which greatly influenced the changes of painters’ thoughts,and the tracing and practical exploration of painting theory also rose to the theoretical level.Therefore,the spirit of the times and philosophical thought under the current political changes in the Song Dynasty are the essence and causes of the evolution from "the first three far" to "the last three far".This paper will also discuss the influence of current politics and philosophy on the evolution of "the first three distances" and "the last three distances" from the two aspects of "Neo-Confucianism of the Song and Ming Dynasties" and "the southward crossing of the Song Dynasty".This paper is divided into four chapters,the first chapter is an overview of the issues related to the "far",which is divided into two parts: the origin of the "far" philosophical thought and the establishment of the concept of "far" space,to illustrate the relationship between the concept of "distant" space and the traditional Chinese philosophical view,and to clarify the theoretical development of the concept in various periods before the "three distant laws".In the second chapter,the author uses the method of comparative study to discuss the respective theoretical propositions and related ideas of the "former three distances" and the "latter three distances",and summarizes the development and transformation of the "three distances" from the theoretical level.This chapter is divided into two parts: the first part,because of the Song Dynasty’s southward migration caused by the Jingkang Incident,the subject matter of the painter’s creation changed from "north" to "south";the indignation of the literati’s cultural exile also inspired the rise of literati painting;the spatial view of landscape painting transited from "big view of small" to "small view of big";Painting language has also caused a series of changes in the brush and ink texturing method.In the second part,the change from "Cheng-Zhu Neo-Confucianism" to "Lu-Wang Mind" in the Neo-Confucianism of the Song and Ming Dynasties led to Guo and Han’s epistemology from "investigating things and seeking truth" to "understanding reason and seeking truth",from emphasizing law to emphasizing feeling in painting rules,and from advocating realism to advocating freehand brushwork.The fourth chapter is the last chapter of this article,from three aspects to explain before and after the "three far" evolution caused by the theoretical significance,the reality of the author’s creative inspiration and this evolution can inspire the future landscape painting new schema prospects.