The Adherent Painters Of Jiangnan Region In The Early Period Of Qing Dynasty And Their Paintings

The important position of the literature materials in the study of the historiography is beyond doubt.In recent years,the graphic material has attracted the great attention of the historians with its advantage of being intuitive and figurative.The using of the literature material,graphic materials and the dual-evidential method which was discovered by the archaeologic discoveries has become the new academic trend.This thesis attends to make research to the painters adhering to the former overthrown dynasty in early Qing Dynasty and their paintings from the interdisciplinary perspective.By the interpretation of these paintings,the thesis tries to present the inner world of the gentries in Jiangnan region,and interaction between the Jiangnan region and the central government on the occasion of the Ming and Qing dynasty change,as well as discusses the interpretation method of treading the paintings of the adherents of the former dynasty as the historical data.The massive comparative studies to the language pattern,ink trace,and symbols of the paintings of the adherents of the former dynasty can provide us the information as below:First of all,the painters adhering to the former overthrown dynasty in early Qing Dynasty made use of the fragile and sensitive materials such as ink brush,rice paper,ink and water to record the rhythm of life.With the combined action of the water,ink and the soft brush on the volatile rice paper,the multiple changes of the mood and the material stimulate with each other,which fixing the subtle temperament in the paper fiber.This trace cannot be replicated,and it displays the change of emotional clues.Their disturbance and anxieties emerge to us through the veil of time,which can help us to review the cause of the mood swings,how the development of the fluctuation and how the adherent painters fight against the anxieties and so on.Secondly,the painting language of the adherent's paintings reveals the change of the dynasty,especially when contrasting to the "Dragon vein saying" raised by the classicist school who was set up as the national art image by the Qing government,"the leftover rivers and mountains" in the paintings of the adherents more directly display the huge damage to the scholars of Jiangnan region by the change of the dynasty.Under this kind of sad mood,their paintings often adopted one angle or the half composition which could remind the loss of the national territory to the rule of the alien races.Their yearning for the homeland interweaves with the native place complex produced a large number of works based on the theme of the well-known mountains and rivers in Jiangnan region,which shaped the local culture of Jiangnan region.What's more,the pen drawings present an obvious competition between the special charm of late Ming dynasty and interesting taste of Qing dynasty.The argument of "Qi" and "Li" became the principle contradiction of the painting circle at the late Ming and early Qing dynasty.These two propositions contain mighty political ideology.The adherent painters who advocated the saying of "Qi"together with the painters of Qing dynasty who advocated the "Li" school reconstructed the context of the art of painting.Both of the schools advocated the vintage style and were known as the representatives of the pith of the art in Jiangnan region.Their competition in pen drawing has represented the Qing government's support for the art which could meet its own needs and also showed the centrifugalization of the Jiangnan region to the central government.At last,the consciousness of the symbols in the paintings of the adherents display the inner world of the painters who weren't shooting at the random but choosing the symbols in accordance with the state of the mind at that time and the requirements of the contexts.The interpretation of these painters should be based on the systematic research of the symbols that they used.Try to figure out the meanings of these symbols in the different times of the ancient China,for example,the eagle which Chu Ta(a famous painter of Ming Dynasty)loved for the most and the symbol of the sika deer all have a long evolutionary history in the Chinese culture.Moreover,paintings of the adherents also reveal deeper connotations.Through the learning of the paintings of the adherents,we can realize directly that the Jiangnan region has always stayed independent in the domains the Empire of China.It has its own unique design and context.Whether suffering from the foreign invasion or not,the Jiangnan region has constantly insisted to write its own history based on its character and logic.The revolution of the late Ming Dynasty continued to the early Qing Dynasty,not being cutting off by the change of the dynasty.At the very beginning of the Qing dynasty,the majority of the scholars in Jiangnan region refused to cooperate with the Qing government,which was not rare in the past dynasties,and this has become the characteristic of the scholars in Jiangnan region.The groups of the scholars became divided and confronted due to the ideological difference,which remains as its cultural contradiction as well as the power of self-renewal,even as the operating power to the whole empire.After the change of the dynasty,the contradiction of the Jiangnan region rendered to the ethnic contradiction named as "Distinction between Yi-Xia".However,under the same recognition to the territory of Jiangnan region,the painters adhering to the former overthrown dynasty didn't have too much estrangement with the painters in Qing dynasty as well as the officials.They communicated with each other frequently.Whether following the Qing Dynasty or not is the own choice the scholars themselves,while possessing the common context of Jiangnan is the most important.