Ink Structure And Impressionistic Made Of Of The Ming And Qing Freehand Bird Environment

Based on the theory of 'Brush Constructions'proposed by Zhang Lichen, this dissertation discusses the feature of 'spontaneous expression and creating environment'in Ming-Qing impressionistic bird-and-flower paintings from the perspective of Self-disciplinary Principle of Art. This study, which focuses on painting language and personalized schema, analyzes different expression forms of artists' personalized brush constructions in this kind of paintings, and expounds the reasons to help to bring about them. With an attempt to inherit traditional value and to inspire contemporary personalized schema and expression forms of free style bird-and-flower painting, this dissertation also explores the aesthetic meaning, value orientation temperament and interest manifested in ancient artists'performance techniques, which reflects a consciously transformation from finding spiritual substance by means of painting to spontaneous expression. This dissertation mainly elaborates around following aspects:The concept of space-time and view of nature in Ming-Qing art is different from generations before, and the change mainly embodies on the expanding ways of creating environment used in hand scrolls. The diversified subjects and enriched moral reflected in free sketch relate to the change of literati painters'values.This study suggests that Ming-Qing artists enhanced the artistic connotation of their personalized schema intentionally or unconsciously, by summarizing predecessor's schemas and learning outward from nature. This feature is reflected through the painters'consciously integrating different languages from poem calligraphy and seal into creating and enriching the representations of painting.After analyzing Ming-Qing artists'brushwork and ink language, this research shows that the sufficient use of long brush-strokes and raw Xuanzhou paper pushed forward the development of freehand bird-and-flower painting. The emphasis of integrity of the picture in Ming-Qing dynasty not only features in the cognition about composition, but also in the combination of calligraphy and painting.The development of free and spontaneous style in Ming-Qing was also due to the participation of elite literates, who were capable of absorbing other arts'essence and blending their own accomplishment and talents into a painting. Their creation showed unique artistic conception of Ming-Qing freehand bird-and-flower painting.With unconsciously influenced by Ming Neo-Confucianism and School of Mind, the most fundamental principle of "moral achievement triumphs artistic accomplishment" established, and advocated by literati painters. The emergence of this principle also explains the advent of the comments on paintings written by Huang Yue (Qing dynasty), and reflects the aesthetic transformation from focusing on inside of the painting to outside (including spirit, taste, etc.)This dissertation undertook research by way of schema analysis, case study and interpretation of Chinese ancient painting theories. Through historical materials and existing works, this dissertation attempts to find out which elements have influenced the generating of new brush constructions and artistic conception, and to reveal the aesthetic connotations and spiritual origin of freehand style in Ming-Qing dynasty.