The Late Ming Dynasty Dong Ju Landscape Painting At The Beginning Of The Qing Dynasty As A Tibetan Studies

In the late Ming and early Qing dynasty, the works of DongYuan and Ran Ju in Five dynasty passed from private collectorsDong Qichang, Liang Ching-piao, Gengzhao Zhong, Geng Jiazuo SuoEtu An Qi to the inner inner court.Painters, writers,bureaucrats, merchants entered the world of the Ming and QingPainting History,for appreciating or for Favorite.Thecollection and identification activities of the Ming and Qingpainting and calligraphy have the historical presentation, andconstitute the characteristics of the times. And that isbecause the mental seeking of he collective psychology of theMing and Qing Dynasties and collectors,in addition to the flowof the official and private collections, the historicalopportunity of regime change, and the continuation oftraditional cultural practice.From the perspective of work style, the identification ofof calligraphy and paintings is for deciphering the languageof art forms, that is, the work analysis.This means that theidentification of painting is always around the works ofontology language, based on the expressive language of thepainter works. And the identification and doubts of the masterpieces of landscape painting from Dong Yuan and Ju Ranin the Five Dynasties to the Song and Yuan Dynasties is relatedto the landscape painting style of Five and Song Dynasties. Thestyle differences between palace Drawing and Scholar Opinionpainting of the “Riverbank drawing”," Xiaoxiang drawing"," Summer Mountains drawing" and “Xiajingshan to ferrydrawing” are about techniques to the interesting problem ofdemarcation, and the connoisseurs in the late Mingand earlyQing is what view of this issue, which is my reserach to besolved. The ntrinsically link and its derivatives of work formlanguage has always been a sign of style and the basis of theidentification of author attribution. The spread of the samegeneration and impact of future generations of Dong Yuan andJu Ran works style show the synchronic and diachronicassociation. How to comb and use the Dong Yuan and Ju Ran worksstyle language for the connoisseurs in late Ming and early Qing?What is the identificaion and collection standard for the Mingand Qing connoisseurs? And all these are what I am going tostudy.The purposes of identification of painting is to identifyauthenticity and distinguish grades.In the study of art history,all the surviving paintings are the valuable picture of the history, instead of fake and imitation works. The fashion ofpainting imitation and copy in late Ming and early Qing is dueto scarce of Dong Yuan and Ju Ran’s classic original track,and also large number of fakes and imitations works appeared.The false and wrong identificaion is one of the reasons for theformation of the pattern and style of Landscape Painting in theMing and Qing.Art history, art theory and art identification are thethree cornerstones of modern art historians, while the artidentification is the basis of art history research. Thediscussion to persons, region, style of the times ofcalligraphy and painting history is on the basis of theauthenticity of works identification. By studying thecollection and identification of masterpieces landscapepaintings of Dong Yuan and Ran Ju in the late Ming and earlyQing, it shows the special value and significance of collectorsin the construction of the painting history. And taking theclues, we can get and discuss the Principle and theory ofChinese ancient calligraphy and painting identification.