Early Chinese Green Landscape Morphology And Genesis

From the perspective of the speciality of color usage, this dissertation focus on the process and inner motive of Chinese Blue-green (Qing lv) landscape painting from Six- Kingdoms (Liu Chao) to the most glorious period of Tang Dynasty.First of all, this thesis has studied the logical developing process from Gu Kaizhi in Eastern- Jin (Dong Jin) Dynasty to Er Li in Tang Dynasty, that in some 400 hundred years when Blue- green landscape painting showed its initial form and meanwhile was only used as the background of human- figure paintings to its mature style. Secondly, the author has pointed out that while being developed in the central part of mainland, Blue- green landscape painting were also well practised in Buddhism mural paintings from Ke Zier to Dun Huang. Basically, this style has being developed in two places almost in the same time.hrough discussing the early color conception, and combining with review of the early color practice in paintings, the author concludes that it is red and black ink made the basic and usual tone of early paintings in China, and the original foundation of Blue-green painting could hardly be found in the same period. Thus, the origination of Blue- green color conception has been under discussed by studying the color conception of India Buddhism art and the spreading way of Buddhism art in Silk- road. After thoroughly compare India Ajanta caves mural paintings with Ao- tu techniques in Chinese painting and the mural paintings in Ke Zier and Dun Huang, the author thinks that even though blue and green were not the main color in Ajanta caves mural paintings, they were very important elements to be used to make the composition. They have influenced Ao- tu techniques and spread with the idea of using color to make volume, light and shadow of objects. At the same time, the very common usage of cold color in Ke Zier mural paintings has influenced Blue- green painting in very strong way . After being introduced to China, and having been combined and conflicted with local Chinese culture, the India Buddhism art has matched to the aesthetics which adore the nature in that period, this also helps the development of Blue- green style in early Chinese landscape painting. In general, Blue- green landscape painting is not the logical result of traditional Chinese painting itself, instead, it is the combination of domestic painting and foreign religious art.