Research On Huzhou Bamboo Painting School

The thesis has analyzed the cultural phenomenon and artistic achievements of Huzhou Bamboo Painting School on the basis of its meaning and technique characteristic. The typical works of the representative artists of the School have been discussed in detail and presented the necessity of that Bamboo Painting should return to the tradition from the aspects of clarifying the development and change of the techniques of Huzhou Bamboo Painting School from the context of apprentice, and of paying attention to the method and its significance of the Bamboo painting. Based on image analysis, Huzhou Bamboo Painting School has been researched and discussed in four chapters, comprehensive using the theories and methods of arts, sociology,history, literature and comparison of science.The first chapter focuses on the history and meaning of Huzhou Bamboo Painting School. From the origin of the bamboo painting, establishment of the Ink bamboo painting department in Tang Dynasty, the independence of Bamboo Painting School with Xuan He Art Copy in Northern Song Dynasty to the maturity of Bamboo Painting skills and theoretical writings, the history of Huzhou Bamboo Painting School has been reflected by the practice of art history. The relationship between Huzhou Bamboo Painting School and Ink Bamboo Painting department is depicted in Volume One Huzhou Bamboo Painting School by SHI Lianru, a Ming Dynasty monk.He also depicted the main characters of the school and the ancient scholars’ discussion on the school, therefore the basic meaning and painting category of Huzhou Bamboo Painting School has been defined from the perspective of literary theory.The second chapter has introduced the techniques and skills of Huzhou Bamboo Painting School. From the technique characteristics of WEN Tong ‘s Ink bamboo paining, the author has shown different dimensions of his painting, like the bone-liked skill, realism, plane and poetic dimension. These features shown in WEN Tong’s Ink bamboo painting become the gist of Huzhou Bamboo Painting School.The descendants of the school has been developing and innovating on the basis ofinheritance and has formed their own expressions. Huzhou Bamboo Painting School and the Literati Ink Bamboo Painting have shown complete difference in realistic and poetic aspects by comparing both techniques, which also makes a great clue to clarify the technique change of Huzhou Bamboo Painting School and also a dimension consideration of the decline of the school. Huzhou Bamboo Painting School can return to the strictness and preciseness of creation being placed in Song and Yuan painting environment. Guoxi has depicted about Tang and Song formal paintings in Lin Quan Gao Zhi, “Any painting of any view must be paid full attention to without reference to its size, must be refined with all spirits, must be treated seriously and thoughtfully. A painter shall not complete a painting with less effort or in an ignorant and dumb state. A painter also shall not cause negligence in a painting with pride.”This is the proper characters and morals of China painting.The third chapter is the central part of the paper, which the author has put most emphasis on. From the perspective of the representative works and typical styles of Huzhou Bamboo Painting School, the author has introduced the technique change of the school and discussed what kind of artists should put into the school. In addition to the techniques inheritance, the author has found further demonstrations from the literary theory and inscriptions. The paper has interpreted the origin and continuation of Huzhou Bamboo Painting School through the representation of WEN Tong’s realistic painting and SU Shi’s painting with artistic conception. Each has its particular style though out of the same root. WEN Tong’s paintings are myriads of change like Lu Shan’s appearance, from different angle, the observers get different images. SU Shi’s paintings are innocent, romantic and unrestrained. The elderly HUANG Hua’s works have literary graces and poetic beauty which have reflected temporary styles. LI Kan’s picturesque Jiang Nan landscapes, GAO Kegong’s deep affection for natural grace, ZHAO Mengfu’s old-fashioned nobleness, WU Zhen’s natural and unrestrained seclusion, KE Jiusi’s works carving stones through ages, NI Zan’s similarity in appearance but difference inherent, GU An’s lighthearted grace;XIA Chang’s clear brightness, and other large number of paintings, writings and inscriptions have provided us clear image and literary identity for the origin of Huzhou Bamboo Painting School. This chapter has paid special attention to the value and influence of LI Kan’s Zhupu Record, Zhao Mengfu’s old-fashioned aestheticideology, WU Zhen’s Union of ink bamboo painting and poetry writing, Xia Chang’s dripping expression of long rolled ink bamboo paintings. These highlights mentioned above have enriched the comprehensive interpretation of Huzhou Bamboo Painting School and contributed to its systematic achievements and value.The fourth chapter elaborates the cultural phenomenon of Huzhou Bamboo Painting School. By reviewing the representatives’ life and their literary works, the author has analyzed the influence of ink bamboo painting caused by their noble and generous cultural system. In the late Ming and early Qing Dynasty, the literati devoted in impressionistic ink bamboo painting, Xu Wei, Zheng Banqiao as the representative,developed excessively and turned to “modern western decadents”(words by YU Jianhua). Huzhou Bamboo Painting School has been gradually extracted from its aesthetic realism and its language paradigm which expresses spirit by shape. Thus, the school has got a crack and gone farther and farther in such a background. Meanwhile,the Ming and Qing Dynasty impressionistic bamboo painting began to rise, and prevailed for a time. By studying Huzhou Bamboo Painting School, the author has attempted to reflect from the individual to the whole, discussed the methods and meaning of ink bamboo painting and reviewed the significance of art practice and the traditional regression.In the last part of this thesis, the writer has finished such materials as the appendix: WEN Tong’s chronology, representative artists of Huzhou Bamboo Painting School, their representative works, the schema of typical works, and improved its context of apprentice and the structure of its works, which have been the component of Research on Huzhou Bamboo Painting School.