Landscape Painting Aesthetics Research In The Ming Dynasty

The aesthetic thoughts containing in the Ming Dynasty landscape paintings have their uniqueness.The landscape paintings are considered as the feelings and experiences obtained from the encounters between matter and self.They are not only the original clarity of the true objects,but also the natural presentation of the painters' true identities.It is advocated that the premise of the creation of Chinese landscape painting is the painter's direct aesthetic perception.The painters emphasized both the importance of itself in the form of a beautiful landscape and the lyric freehand in expressing emotions,with the purpose of self personality and spiritual sustenance,while highlighting the identity and social criticism.Specifically,this topic is based on the Ming Dynasty landscape painting remains and theory of painting.The author intends to research the implication of aesthetic thoughts deeply from the following four aspects:The first chapter deals with views on the essence of the Ming Dynasty landscape paintings.Landscape painters of the Ming Dynasty held the belief that only the paintings that can present the original real look of the objects are beautiful.There is no trace of an ornate style on such landscape paintings which are the feelings and experiences obtained from the encounters between matter and self and the image from forgetting everything to the harmony between matter and self.Compared with the scholars's stress on "freehand brushwork" in Song and Yuan Dynasties,the landscape paintings in the Ming Dynasty are inclined to present " pictographic" emphasis.Compared with the Song Dynasty court's weighting "shape" and "freehand" tendency,the landscape painters in Ming Dynasty advocated the form of combining "shape" and "freehand"together.The second chapter introduces views on the creation of Ming Dynasty landscape paintings.The process of creating landscape painting is just the forming of the-feeling-and-setting-happily-blended image by melint the heart of the inanimate nature and casting molding by the shapeless emotions.Ming Dynasty landscape painters advocated that the construction of the painting images should be based on the direct perception of heart and objects,deepened the intermediate link from which "Nature" and "source of mind" are blended and stressed that outer quietness and inner calmness" is a prerequisite for the formation of painting images.Only with "outer quietness" can"Nature" reveal its "genuineness" and only with "inner calmness" can "source of mind" clarify its"clearness".The extremely clear "source of mind" can open the real "nature",blending the heart and objects,inside and outside.The third chapter presents views on the functions of the Ming Dynasty landscape paintings.The drawing theorists of Ming Dynasty thought that the most basic function of landscape painting is to keep the shape.In addition,the landscape painting is also the painter's tool for indication,symbol of identity and the road to surpassing.Literati of the Ming Dynasty were more consciously engaged in creation of Chinese landscape paintings,putting self personality,temperament in the landscape painting creation,and settling their hearts in leisurely visiting the landscapes.At the same time,landscape paintings can also affect the personality and help the paiters participate in political affairs circuitously.The literati and painters of Ming dynasty conveyed their elegance of the bamboo abd spring,both to characterize self sentiment and fight against the reality through the paintings.The fourth chapter focuses on views on the form of the Ming Dynasty landscape paintings.The Ming Dynasty landscape painters advocated the beauty-in-form orientation,emphasizing that landscape paintings are to express the subject's disposition,and pursuing the beauty in form through the quatemity of" poetry,calligraphy,painting and seal".The beauty in form lying in the Chinese landscape paintings has been developed to the extent that can be seen as the realm of independent art form.Finally,the fifth chapter,on the basis of in-depth study of the aesthetic thoughts in the Ming Dynasty landscape paintings,aims to summarize and refine the aesthetics characteristics in the Ming Dynasty landscape paintings:secular aesthetic orientation,sense of identity and strong retro consciousness.