The Classical Colore Landscape Paintings In The Late Period Of Ancient China

This paper is based on color as a viewpoint, archetype and conception creating as a clue, historical records and paintings as a method to research the style and color language of late classical landscape painting and its evolution. Through the attention on the key point, the paper aim to reinterpret carefully and deeply the historical records and important painters in order to explore the archetype and the evolution of two main types of color landscape painting of this period, and to analyse the anchetype of the late landscape painting and the understanding of the painters during that period, including the misreading and the imagination, which influence the practices of paintings in return. then the paper discuss the color landscape paintings’patterns under the imaginary creations of the late painters, which become the archetype of the later paintings afterwards.From the Yuan Dynasty, the classical color landscape paintings was evolving under their former patterns. Since they had not invented a new color language as the former painters, the late painters use the pre-existing language and pattern as the archetype of their creation. Through a different understanding of the archetype, they made a different imaginary creation, which result in tow main types of color paintings, light color paintings and thick color paintings. They were evolving separately, but also influence each other.Under the rapid advance of Southern school and the limited compromise with thick color landscape paintings, Qian Xuan and Zhao Mengfu innovate the pattern of Dong Yuan. The light color landscape paintings become mature in Huang Gongwang and Wang Meng. Mainly with series of ochre, supplemented by the plant-based colors, such as gamboge and cyanine pigments compose the color language of light color landscape paintings. The pattern of light color landscape paintings in Yuan Dynasty, represented by Huang and Wang, become painting archetype of the later. They systemize and standardize the pattern of light color paintings, and follow but also violate it in their practice.The thick color landscape paintings develops along the two roads of Jin Tang and Bei Song. The imaginary creation to the former archetype leads to the modification of the color, the pattern and the appearance:from composition of stone-based color to composition of plant-based color, from thick color to light color and the change of the color appearance. Late Qing Dynasty’s thick color painters review and fancy the archetype to express the nostalgia to the classics and also to express the pattern and the taste of their own in the way of imitation to the classics. One of the examples is Qiohang Dong’s imitation to the imaginary archetype of Mogu manner of Yang Sheng and Zhang Sengyou.The paper also explores the words such as light-color, thick-color, Jinbi and Mogu, attempting to present the status of color landscape paintings among the whole structure of landscape paintings in late period from one side.