Research Into The Geographical Painting Style Of The Ming And Qing Dynasties

The period of the Ming and Qing Dynasties was a special historical period in the history of China for its change of dynasty and social unrest which draws much attention by the scholars in the study of Chinese history and the history of Chinese painting,thus rich fruits were yielded-As an important part of Chinese paintings,paintings in the Ming and Qing Dynasties are full of inheritance and transformation,fierce conflicts between the local and the exotic,and the style of the paintings in this period is also very special and complex,and has great influence upon Chinese modern painting.As a cultural phenomenon painting is a cultural product of the time and the space.It is affected not only by changes in the times but also by regional culture.With the development of ancient Chinese paintings in the Ming and Qing Dynasties,"Paintings with Differences in Different Regions" has become the most significant feature.The regional painting schools were widely distributed,presenting a variety of painting style.Therefore,the research into the painting style in this particular historical period cannot be separated from its geographical factors.The study of the style of the paintings in the Ming and Qing Dynasties from the perspective of the region is an intersection of painting history and geoscience.Placing ancient Chinese paintings in a vast regional cultural background,the author will explore the painting style and their occurrence and development law by grasping the regional cultural characteristics of the paintings.From the perspective of geography,this thesis uses methods in the research of history,art and geography to analyze the environmental background of the painting style in the Ming and Qing Dynasties,to clarify the artists' geographical distribution and changes of the painting style,and to compare the style characteristics between the two major painting regions in the north and the south,digging out the geo-attributes of the painting style,sorting out the inheritance of the geographical style and regional broadcasts,exploring the historical position and influence of the style of the paintings in the Ming and Qing Dynasties.That is to say,on the basis of the changes of the society and history in the Ming and Qing Dynasties,the distinct features and geospatial attributes presented at this time were given,and the history of painting in the Ming and Qing Dynasties was visualized from a geographical perspective.The thesis can be divided into six chapters:The first chapter is "The Background of the Style of the Paintings in the Ming and Qing Dynasties" It provides a basic introduction to the background of the geographical style of the Ming and Qing Dynasties from social,political,economic,ideological,and cultural perspectives,fully explains the influence of the background of times on the style of the paintings at that time.The period of the Ming and Qing Dynasties was a time of great changes.The special background provided a special cultural and spiritual atmosphere for painting.Paintings in the Ming and Qing Dynasties were developed and evolved under such historical backgrounds.The unique style of the paintings it presented was derived from the soil that bred it.The second chapter is "The Transformation of Birthplace of Artists in the Ming and Qing Dynasties and the Space-time Transformation of Style".It analyzes and clarifies the geographical distribution of artists' birthplace in the Ming and Qing Dynasties,and grasps the distribution characteristics and trends of the painters within the spatial scope of each region.At the same time,from the perspectives of time and space,the evolvement of the painting style and the displacement of the painting center in the Ming and Qing Dynasties were summarized and elaborated,and the spatial displacement of the painting center was given,which in turn facilitated the research into the characteristics of the style from the perspective of geography in this thesis.The third chapter is "The Painting Style of the Capital Region with Court Characteristics".According to the overall characteristics of the distribution of birthplace of the artists in the Ming and Qing Dynasties,the painting style was divided into two regions,the north and the south according to the geographical relationship for comparison.Through the analysis of the respective cultural backgrounds,painters and their works of the two regions,the paper elaborates the characteristics of the style of the respective regions,summarizes the painting style of the Capital Region with the palace painting as the main body,and the style of the Jiangnan Region with the marketplace atmosphere,the differences and the mutual geographical relationships are also discussed.The paintings of the Capital Region originated in the political center,were influenced by the tyranny and Confucianism,and long existed in the orthodox culture and mainstream culture,forming a traditional "political" culture.This kind of culture maintains traditionalism and opposes heresy and change.As a seat of imperial power,paintings in this region are often rigorous in form,uniform in technique,neat and meticulous,and colorful in color,reflecting the political aspirations of the rulers and the ceremonial authority of royal powers.Therefore,with the background of "Western Paintings Moving Eastwards" and literati painting flourishingly,the style of paintings in the Capital Region is strongly political under the leadership of the rulers'aesthetic ideology,and shows distinctive features of the painting style that can not be found in other historical periods.The fourth chapter is "The Painting Style of Jiangnan Region with Humanistic Atmosphere".It analyzes the representative painters and works of the schools of regional painting in Jiangsu,Zhejiang,Anhui,Jiangxi,etc.,sums up the painting style and aesthetic orientation of each school of painting,and the overall style of the painting in Jiangnan Region as well.In the Ming and Qing Dynasties,the Jiangnan Region was one of the most developed areas in China's economy and culture.The booming commodity economy promoted the typical commercialization and secularization of the style of painting in the region,and at the same time under the influence of the liberation of individual thoughts,the style of painting in the many schools of the Jiangnan Region is particularly evident in the style of innovation,elegance,and personality.The Jiangnan Region is relatively far from the political center of the north.In the mode of management where the ruler is more relaxed,the painting adopts themes of natural landscape in the south of the Yangtze River and daily lifelife.The overall aesthetic style of the humanistic atmosphere is clearly shown.There are significant differences in the style compared with that of the Capital Region.The fifth chapter is "The Spatial Broadcast of the Geographical Style in the Ming and Qing Dynasties".It analyzes the spatial communication elements of the geographical painting style in the Ming and Qing Dynasties,and makes a case study of the typical region.As a cultural phenomenon,geographical painting style interacts directly and indirectly with the surrounding areas in the process of its inheritance and development.In the special historical environment of the Ming and Qing Dynasties,the dissemination and interaction of the painting style are closely related to the geographical environment,economic prosperity,cultural prosperity and convenient transportation.The spatial transmission of geographical painting style in the Ming and Qing dynasties mainly included the spread of Western painting styles in China and the spread between different regions.The six chapter is "The Historical Position and Influence of the Geographical Painting Style in the Ming and Qing Dynasties",On the basis of the previous discussion,it summarizes the historical position of the geographical painting style in the Ming and Qing Dynasties and its important influence upon the modern paintings.This thesis studies the style of the paintings in the Ming and Qing Dynasties from the perspective of the geography,consciously breaks through the traditional vertical research method that only takes times as the main line,analyzes and reconstructs the historical narrative in the study of the history of painting,and discussed he geopolitical point of view,at the same time.The author tries to interpret the style of the paintings in a broad geographical "cultural style".To clarify the distribution characteristics and development context of the paintings in the Ming and Qing Dynasties,this thesis makes a spatial comparison of painting style in different regions and sums up the differences in the style of the paintings due to geographical differences.This thesis clarifies the regional trajectories of geographical painting style and the important position and value of the paintings in the Ming and Qing Dynasties,and strives to broaden the new research perspective for the history of Chinese painting,and introduce new research methods for the study of painting history.Under the common care of time and space,it reveals the complexity and diversity of the painting style in the Ming and Qing Dynasty,thus further illuminating the broader era and cultural features of the entire Ming and Qing Dynasties,expanding and deepening the research in this field.This is exactly the significance of this study.