Research On Decoration Of Chinese Landscape Painting

The present thesis analyzes Chinese landscape painting and its history from a unique perspective of decoration, and the ornamental elements of traditional cultural resource and conveys the directing of cultural concept. The dissertation will infuse new ideas into the stronger Chinese cultural art and design. The main contents of the research are as follows:Chapter one, introduction, consists of the purpose and significance of research on decoration of chinese landscape painting, present studies in and abroad on this subject. The research mentality and research features are also put forward in this chapter. Meanwhile, the core concept, decoration, of the present thesis is discriminated from six aspects:decorated and ornamental, self-awareness of forms, combinition of sequences, abstract symbols, fading texture, strengthen of pattern. Chapter two contains the ornamental elements of landscape painting. This chapter deconstructs the basic ornamental elements of landscape painting:line drawing, texturing, abtonen, ink style, "remote method" and composition of a picture. From layout to ink color and inner spiritual constitute, Chinese landscape painting decorative forms not only exist as the form of vassal, but also have its own independent inner aesthetic character. Chapter three, decoration of Sui-Tang landscape painting, analyzes the reasons for the generatioin of Sui-Tang landscape painting, and interprets the performance and reasons of the ornamental style of Sui-Tang landscape painting. Chapter four examines the anti-decoration of the landscape paintings in the Five Dynasties and Northern and Southern Song Dynasty. This chapteranalyzes the reasons and morphological characteristics of the maturityof landscape paintings in the Five Dynasties and Northern and Southern Song Dynasty, and interprets the typical anti-ornamental language and techniques of landscape painting in the Five Dynasties and Northern and Southern Song Dynasty. The fifth chapter talks about the decoration of the writer landscape painting since Yuan Dynasty. The reasons why the writer landscape painting thrived since the Yuan Dynasty and the ornamental style factors of the writer landscape painting are discussed in this chapter. The ornamental language and technique analysis of the writer landscape painting are also interpreted in this chapter. The decoration of the writer landscape painting is the result of frustration. Chapter six is the influence of decoration on contemporary landscape painting pattern. This chapter discusses the anti-decoration of art's revolution from the earlier 20th century to the time before liberation from the perspective of decoration. Anti-decoration of art's revolution reached the top from the foundtion of the new China to mid-eighties. The influence of New Wave of the Art 85 on the self-awareness of decoration and the reference significance of decoration on the development of previous landscape painting. Chapter seven examines the influence of landscape painting's decoration on contemperory design. This chapter argues that decoration is the common development tendercy of contemperory art and design, and the dialectical progress from decoration of painting to ornamental painting and then ornamental design.Researches on the transformation and transition of Chinese landscape paintings from the perspective of decoration are rare in and abroad. The romantic charm and vacant art spiritual embodied by landscape painting contains the complex of national culture. Re-interpreting of landscape painting will be the inexhaustible culture resource of modern art and design.