"road Salt Painting Study Zte Said

The paper starts with the intellectual paradox in Huang Binhong's "the Resurgence of Painting Theory During the Daoguang and Xianfeng Period", based on the academic record, the relation between the epigraphy and painting theory during the Daoguang and Xianfeng period as well as the relevant historical facts are elaborated. The main points of conclusion are stated:1, "the Resurgence of Painting Theory During the Daoguang and Xianfeng Period" is centered on landscape, bird and flower and figure painting.2, In the relation between epigraphy and landscape painting, during the pre-Daoguang and Xianfeng period, the dominant style is led by "dry brush and outlining", whereas during the Daoguang and Xianfeng period, style becomes more related to the "Dongyuan and Juran" and "Wu Men" tradition which was centered in Suzhou, this trend may lie in the artists wish of reviving tradition, the dissemination of books of rubbings and the emergence of the school of "connoisseurship".3,Well aware of this shift, Huang Binhong created his own way of use of ink and water featuring "wet, thick and black ink" inspired by the establishment of epigraphy and calligraphy. The brush and ink technique in "the Resurgence of Painting Theory During the Daoguang and Xianfeng Period" characterized by the combination of "wet, thick and black ink" and "epigraphy-brush". "Resurgence" is his value judgement with logics based on his own practice and the new development of the elite painting under new historical context.4, The current research may be flawed in misunderstanding of Huang Binhong's painting theory, "the resurgence of Painting Theory During the Daoguang and Xianfeng Period" can be mapped through the "negative" version led by Wang Bomin, which denied the "resurgence" account, whereas the "affirmative" version led by Wan Qingli deprecated "the Resurgence of Painting Theory During the Daoguang and Xianfeng Period" as the relation between epigraphy and painting. The legitimacy of "The Resurgence of Painting Theory During the Daoguang and Xianfeng Period" lies in its specific historical condition, and bears the value beyond the specific history, in which the "wet, thick and black ink" is mediated with the "epigraphy brush style", thus greatly influenced the development the Chinese landscape painting in the 20th century.