| Aesthetic is a fundamental activity of human beings, and the features of the universality and profundity of aesthetic activity require people to have perceptual cognizance as well as rational knowledge on aesthetic things and conduct theoretical researches. The nature of art is aesthetics and it has specific, realistic, and applicable requirement on aesthetics.Compared with traditional aesthetics, the aesthetic thinking based on the results of cognition scientific researches has intrinsic changes in disclosing the internal reasons for the generation of aesthetical phenomenon, and it has comparatively interpreted the reasons and mechanisms for the formation of the aesthetic relationship between the subject and object, pointing out that the formation of the aesthetic relationship between the subject and object should be based on the premise of the formation of the perceptual pattern in the form of the subject. Formal perception model is a certain form that the specific perceptual and particular emotional response of human beings may generate in the perceptive structure of the subject as well as a kind of rather stable neuro activity method related to specific emotion.The character of aesthetic activity is to perceive the form of things and takes form as the direct target for aesthetics, and human beings and the forms of objective things forms aesthetic relationship under the effect of affirmative emotion and through the intermediary of aesthetic form and perceptive model. When the external shape of things tallies with the perceptive mode of the subject, the subject will form an aesthetic feeling on that thing under the effect of an affirmative feeling. As the internal important link existing in the brain of the subjective body, the perceptive mode of aesthetics could affect the creation and accepting activity of art,directly influence the formation of the style, evolution, and the formation of aesthetic value of artistic works, and also play an important role in the formation and development of the aesthetic attitude of the creation subject and acceptance subject.The Song Dynasty and the Yuan Dynasty were the key periods for the development of Chinese landscape paintings in China, and had important changes took place in the style of the Chinese landscape painting during its development in four centuries. This kind of transformation may be divided into three phases, and two times of significant changes in style were mainly manifested in aspects of the changes of composition, pen and ink if viewed from the essence of painting. The first period of changing was for the development from the North Song Dynasty to the South Song Dynasty, and the second one was for that from the South Song to the Yuan Dynasty.The North Song Dynasty was the period when the Chinese landscape painting in China developed to be mature, and it had inherited the form of northern landscape style created by Jing Hao and Guan Tong in the Five Dynasties and in the aspect of composition, which was mainly manifested by the composition of large mountain and water and still symbol of pen and ink and thus resulted in that most of the Chinese landscape paintings in the Song Dynasty had panorama in composition and stressed realistic technology to show the natural and real face so as to manifest the grandness and powerfulness of the great nature in addition to the gradual establishment of stylized ink and texturing method that was mainly manifested by Li Cheng, Fan Kuan, and Guoxi.The South Song Dynasty was the very important period during the history of the development of the Chinese landscape painting, and the panorama composition during the period of the North Song Dynasty hadtotally been disintegrated during this period and appeared in the new forms of sectional view and edge horn. In addition, the sceneries familiarized by human beings had been zoomed in, that is, the distant scenery had been zoomed into close shots, and existed in the form of close shot in the picture, and in the meanwhile some elements in the picture had been ignored. In the aspect of ink techniques, the ink had been enlarged and lengthened so as to lead to fundamental changes of the composition of Chinese landscape painting in the aspects of composition and ink techniques. When the Chinese landscape painting developed into the Yuan Dynasty, the composition form of Chinese landscape painting conducted a second construction of the panorama composition on the basis of being disintegrated and new elements had been added into the picture, that is, multiple artistic forms like calligraphy, poems, and seal cutting had been added into the picture, resulting in that the composition of picture tended to be perfect in addition to the expansion of the artistic conception of the picture and the aesthetics of the composition of the picture.There were multiple reasons for the evolution of the style of Chinese landscape paintings. The painting itself was in need of continuous creation and development, but the more important reason lied in the subject of creation and acceptance. It was the establishment and evolution of the internal aesthetic cognitive mode of the creation body and acceptance body that had led to the changing of artistic styles.The formation of conceptive mode of human beings will be affected by the two aspects of the congenital factors and acquired factors.Congenital factor is the basis for the overall cognitive mode, while the acquired factors obtained through experience includes general social and cultural factors and specific social cultural factors. General culturalfactors were the basic color tone of cognitive mode, which had been formed rather long time ago and had some stability, the general cultural factors affected the development of style during the researches on the history of aesthetics. For example, many factors like the social forms of Chinese feudalism society, the classic aesthetic thinking established since the aesthetic thought before the Qin Dynasty, and the cultural tradition,traditional aesthetic thinking, and cultural and value notion formed during two thousand years could be ranked as general cultural factors.Specific social factors had rather significant character of era and closely related to specific social value and the interest awareness of people. The political environment in specific era affecting the development of painting styles, the aesthetic characters in the eras, and the effect of the artistic individual on the deviation of styles could all be concluded as specific social factors. During the previous researches on the evolution of the styles of Chinese landscape painting, people had realized that multiple factors like the social and historic environment,cultural and aesthetic notion, and the individual reasons of the artists were all the important factors for the deviation of the Chinese landscape painting, which were regarded as the background factors for affecting the development of Chinese landscape painting.However, it could be found through researching from the perspective of the cognitive mode of human being that the aforementioned factors and conditions were the fundamental and direct factors leading to the deviation of the styles of Chinese landscape painting, but it was only because that they were located in the bottom of aesthetic cognitive mode and showed insignificant modality that they had changed the features of the functions of many specific factors in the evolution of the style of Chinese landscape painting.The formal perception generated during the process when people perceive the external shape of the things had its own features: the feature of formal perception is the large amount of perception of the same type under equal utilitarian factors, and it could lead to the deactivation of perceptive feelings so as to render the gradual reduction of the aesthetic feeling strength of people and even not to form feeling experience of aesthetics, that is, the so-called “aesthetic fatigue”.As to the development of the noumenon of Chinese landscape paintings, the formal perceptive feature had extremely influence on the formation of the changing of its style because the Chinese landscape painting was required to have to change in time in the form and manifestation of style during creation so as to avoid hipping and maintain the effectiveness of the stimuli on the cognitive capability of human being so as to promote the overall composition and ink program of Chinese landscape painting to generate and develop from the old style to the new one. The formal style newly generated may provide novel stimuli to cognition so as to construct a formal cognitive mode at a higher level,incur nerve trembling of sufficient strength, and form stronger aesthetic feelings.Several aspects of the horizontal development of the perceptive mode of the aesthetic form and interestedness of aesthetics could provide theoretical support for us to interpret the evolution of styles in a comprehensive way. Painter is the subject in artistic creation, so the bad factors to building intuition mode of a painter is formed by the external causes which include the politics, economy and culture of the age in which he lived and the internal causes which include the painter’s experience and personality. In the complete system of fine arts creation,the number of the aesthetic acceptance body is far more than that in thegroup for creation, and there are different factors for limiting the interestedness imposed on the acceptance group in the various levels of the society during the process when constructing the perceptive mode of aesthetic form due to the different social levels they are located in.The awareness of interestedness within the consciousness of the subject is determined by the social levels it is located in, which is also taken as the basis for determining the interestedness of thing. Only displaying beneficiary and good things and forms of things to their respective level could they pass the examination on the standards of aesthetic utility, enter the next link of aesthetic perception, and discern and determinate whether the forms of things could anastomose with themselves with formal and perceptive modes. If it is anastomosed,aesthetic feelings will be generated.Analyzing the inner aesthetic mechanism of the deviation of the styles of Chinese landscape painting and interpreting Chinese landscape painting and its developing causes from the angle of aesthetic perception are ways that apply to all kinds of painting as well. In this way, scientific and theoretical basis can be provided for the change of painting style so as to analyze the numerous practical problems in arts more reasonably and clearly. |
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