The Research Of Circulating Factors In The Form Of Painting In The Han Dynasty

The development of the Han dynasty in the history of Chinese art, is a special period that is a connecting link between the preceding and the following. Usually, the former research results on the art of painting of the Han Dynasty focused on history, archeology, aesthetics, art history, etc. most of which are in the scope of the artistic form of self-regulation as a starting point. A small number of research results which is not nonsystematic hit a vision of psychological depth. In this paper, firstly, the morphological structural characteristics of the Han Dynasty tomb paintings surviving in the world are objectively described and classified. Secondly, through analysis of typical cases for visual psychology to representative patterns in the Han Dynasty painting, a perception of style namely circulating factors are found and further confirmed is a pervasive aesthetic psychology of the Han people, which has a unique national character. Thirdly, the reason of circulating factors are showed through the analysis of historical materials research from the Han Dynasty ideological background and ideology. Finally, the original and extension of circulating factors are explored by the combination of art history, visual and the concept .The research results show that that circulating factors not only exist in the form of painting in the Han Dynasty, but also exist in the traditional Chinese painting form different levels of implication. It has a distinctive ethnic characteristics. This circulation phenomenon corresponding with Han people's understanding of life, namely: the whole world is a mobile, smooth and prosperous lives as a whole. The work of art display their world view. The Chinese nation have long ago this experience and understanding which are displayed in their plastic art. In the present world of economic globalization and cultural diversity, the interpretation of circulating factors, and research will not only help maintain the independence of the national art of painting, but also contribute to the promotion of national innovation and development of painting.