A Study On The Ontology Of Figures Painting In The Tang Dynasty And Its Early

The ontology theory of the figure paintings of Tang Dynasty and its previous ages mainly refers to the epistemology and methodology that generated into the art origin which is based on the aesthetic disposition and vital signs of figure paintings in this period. Since the Tang Dynasty and its previous ages were the construction period of Chinese classical figure paintings, in this phase, people’s epistemology and aesthetic theory were more based on the interpretation and thinking of life and universe and the ontology of human. The purpose was to hope that the people’s aesthetic disposition and the nature and spirit of the universe could be harmoniously mixed together. This kind of idea constituted the early ancient ontology theory of figure paintings. This article focuses on the way of research on the interpretation of theory and argument of practice, and tries to review, summarize, improve and supplement the ontology theory of figure paintings. It is quite different from the way of the research of art history which pays more attention to the historical process.Through the ancient painting art history and theory we can see that in Tang Dynasty and its previous ages, figure paintings theory was formed by the ontological understanding which was based on a certain social aesthetic thought, such as Taoism, Qi, Image, Form, Spirit, Mystery, Empty, Wonder, Grace and so on. In different period of Tang Dynasty and its previous ages these categories formed the divine theory, aesthetic theory, proposition, evaluation theory and methodology of figure paintings. Most of these theories put aside the chronicle, techniques and even functionality of figure paintings and went straight to the origin of esthetics and value ontology in arts. At the time they were the cognition around the ontology of universe, nature and god, image and spirit, artistic conception and knowledge of all things. They also became the progenitor of the painting method, theory and style after the Tang Dynasty.The Divine value theory is proposed on the basis of "all things have the spirit" and "divine worship", which constitute the origin of conception for figure paintings. The belief belonging and soul attachment included in those paintings can’t be perceived by modern people. But it is clear that the divine value has a vast impact on the later generations as an enlightenment theory. In Pre-Qin period, the Rites of Zhou has a broad ideological influence on figure painting. To the Han dynasty, the Taoism and Confucianism greatly influenced figure paintings, and especially the ontology of Taoism also was the artistic ontology. The image and spirit theory and vitality theory became the main concepts. During the Wei-Jin, Southern Northern Dynasties periods, the complete theory of figure painting emerged. It pointed out approaches for figure paintings in the theory of evaluation, creation and proposition. Tang Dynasty was the glorious period of traditional Chinese figure paintings, for it continued the essence of six dynasties and its evaluation theory in painting, creation theory and aesthetic ideas all constituted the classics of ancient figure painting theories. These cognitions, concepts and ideas are discussed beyond its functionality, sociality and technique characteristics. They all have the value of the art theory in essence.This thesis is based on the research into the ontology theory of Tang Dynasty and its previous ages. It analyzes, interprets, induces and discusses the aesthetics and ideology of figure paintings in different periods. It also proves and concludes these concepts according to the paintings in certain periods in order to do some profound research and interpretation to the classical theories of figure paintings.