A Study On The Paiting Aesthetics Of Huizong In Song Dynasty

Since the new culture movement of May 4th movement,the value orientation of Chinese scholars to beauty mainly focuses on the level of aesthetic education.But historically,the relationship between Chinese aesthetics and politics has always been close.Since the beginning of Duke Zhou's "making rites and playing music",Chinese politics has been full of strong color of American governance.In recent years,with the proposal of "beautiful China" and "carrying forward and inheriting the spirit of Chinese Aesthetics",the aesthetic values that were once limited to the individual level began to change with the encouragement of national politics.The value of beauty has changed from "educating people with beauty" at the traditional individual level to "building a country with beauty" at the realistic political level.Therefore,the relationship between aesthetics and politics has been reactivated in contemporary China.In view of the fact that modern aesthetic theory is generally planned by western scholars,standing in China's position,researchers should,on the one hand,question the universality of western aesthetics,on the other hand,strive to improve the discourse construction of Chinese aesthetics,and the aesthetic thought research based on rites and music should become an important part of extending national position.Based on the above three considerations,this study finally focuses on the painting aesthetics of song Huizong.The research is mainly carried out from five aspects:(1)The historical context of Huizong's painting creation in Song Dynasty.Through the analysis of the political and cultural background of the middle and late Northern Song Dynasty and the social track of Huizong,this paper tries to restore its living state and social environment from three dimensions: the predicament of the identity system,theedification of the cultural atmosphere and the influence of the friendship and elegant collection,so as to understand the deep-seated reasons for its choice of painting aspirations.(2)The style evolution of song Huizong's paintings.On the basis of combing the literature,this paper first analyzes the reasons for the formation of "Dai Yuran's writing" and "the dagger on the palace",and then re interprets them to form its own judgment.Then,from the literature records and works of image two aspects to investigate the theme and style of Huizong painting,revealing the law of its painting creation.(3)The main structure of song Huizong's painting aesthetic thought.By using the research method of iconology and the case evaluation of Xuanhe painting manual,this paper discusses the aesthetic thought of painting and the spiritual connotation of the works from the four aspects of aesthetic essence,aesthetic function,aesthetic creation and aesthetic realm.This kind of expressive ideological and cognitive system is the combination of his understanding of the beauty of aesthetic objects and his ability of aesthetic evaluation,which integrates his thoughts and feelings,and fully embodies the aesthetic ideal of the times.(4)The cultural origin of the painting aesthetic thought of Huizong in Song Dynasty.By the way of appearance,the case study and the study of cultural history are linked,and the hidden cultural factors that influence the formation of his painting aesthetic thought are investigated from the external reasons such as dual religious belief and humanistic aesthetic interest.(5)The present value of song Huizong's painting aesthetic thought.Focusing on the current value interpretation of Huizong's painting aesthetic thought,this paper studies the integration of aesthetic theory and the inheritance and development of Chinese traditional culture,trying to cut into the contemporary cultural context and serveto construct a new paradigm of the times under the contemporary Chinese cultural context.By comparing the relevant literature records and the existing works of Huizong,especially based on the evaluation of the painters in the Song Dynasty by Xuanhe painting manual,this study systematically discusses the painting aesthetic thought of Huizong and draws the following conclusions:First of all,the original intention of Huizong's study of painting is to get rid of the restriction and isolation of patriarchal clan system,and to endow it with the meaning of existence and value of life.His efforts in the field of painting are more for this purpose,and make painting and other artistic activities a buffer zone for his political career.Secondly,influenced by the development of clan literati driven by the imperial court,Huizong's paintings show two different styles: on the one hand,the works show a complete evolution path from rigorous and realistic color setting and meticulous brushwork to emotional expression of ink and freehand brushwork;on the other hand,the works strive to find a bridge between the ultimate similarity and the charm of ink and brush.Third,the evolution of work style not only means the transformation of painting from the practical nature of decorating the palace to the appreciation of cultivating temperament,but also marks the transformation of painting from the Confucian enlightenment function to the Taoist aesthetic function;and the thinking mode of the integration of theory and interest with poetry to a large extent reflects the new ideas of traditional painting aesthetics and the coming literati painting aesthetics.Fourth,Huizong's painting aesthetic thought is the highlight of the aesthetic trend of the times.It presents a diverse and complex logical structure with extremely rich artistic connotation.It can be reincarnated between generations.It conforms to the times and promotes the artistic spirit of the times to be connected with the spirit of the times.It also shows a vigorous development in the process of reconstructing the modern aesthetic value The vitality of.Therefore,on the basis of restoring the whole picture of Huizong's painting aesthetic thought,this study is helpful to understand Chinese classical painting aesthetics,Chinese painting ideology and culture,and even Chinese aesthetic character.At the present level of painting creation and art education,its painting aesthetic thought has its irreplaceable theoretical value and practical significance.