A Study Of Clouds And Water In Landscape Paintings In Song And Yuan Dynasties

It is the symbol of "blood vein" and "spirit" of landscape painting in Song and Yuan dynasties.The aesthetic image of Yunshan far water determines that landscape painting is to write the music of spirit of landscape in the form of "divine tour too empty",rather than "the city area of the case," The rise of wash and ink landscape has further transformed landscape painting in terms of its technical form and aesthetic connotation,and freed it from the description of "writing form in shape and color in color" before the Tang Dynasty.And turn to the image expression of ink and ink,so that the vivid aesthetic ideal can be constructed in the context of ink and ink.Cloud water,as the popular gas in landscape painting,is not only the constituent element of landscape painting,but also the form means of landscape painting space creation.In its unique way,it condensed the spiritual thinking of the literati and literati.From the true landscape of the Northern Song Dynasty when "Yunshan stood at the top" and "thousands of miles at hand",to the open waterfront of the Southern Song Dynasty,the scene of "half a corner" was the scene of the landscape.In Yuan Dynasty,the artistic conception of "one lake on both sides" and "empty water and sky" became the important composition of the picture,and gradually turned to simplicity and emptiness.The landscape paintings in song and Yuan cloud symbols is not isolated in the screen,but with the shape,and with the king,cleverly integrated in the landscape paintings in the context of development.In the Song Dynasty to the Yuan Dynasty landscape painting,water is constantly given new cultural and aesthetic characteristics,and dominate the spirit of landscape painting.From the aesthetic spirit of the connotation of cloud point of view,is the essence of landscape painting and charm;from the perspective of schema techniques,smoke and water.In the landscape painting landscape construction,it is not only the virtual environment,but the virtual and real meaning,like.It is made of landscape space environment the means,but also into the text context,groovy unlimited.It not only has its own.The French language is the composition of the "scene" in the painting,as well as the profound cultural implication,and the embodiment of the "boundary" outside the painting.The void of cloud and water breaks the limitation of the specific time and space to the objective object image,and makes the picture form the artistic conception extension of "beyond the image".Is the Chinese landscape painting unique art form and the essence of freehand brushwork culture.The purpose of this subject is to explore the evolution of the form of landscape painting in the Song and Yuan dynasties and its significance in landscape painting,and try to construct the landscape painting in the Song and Yuan dynasties,and create the landscape in space.The aesthetic connotation and the influence on landscape painting in Ming and Qing dynasties are expounded and analyzed,which reveals the spiritual externalization of "empty","far","empty" and "light" in cloud and water meteorology.Therefore,it leads to a new understanding and reflection on the spiritual connotation of traditional landscape painting,and seeks the generality and extension of the creative practice and cultural aesthetic of landscape painting in tradition and modern times.