A Study On The View Of "Dwelling In The Fuchun Mountains" And Huang Gongwang’s Concept

This paper--"A study on the View of ’Dwelling in the Fuchun Mountains’ and Huang Gongwang’s Concept",attempts to use the method of intellectual history to introduce the analysis of masterpiece,to restore the historical semantics contained in the theme and the postscript,and to trace the objective reasons for the formation of the fuchun "Dwelling in the Fuchun Mountains" from creation to the classic.The textual research of this paper is based on keywords involved in theme and the postscript,which analyzes the changes with concepts of times,which finds the painting several classic characteristics: 1."Fuchun"(or "Fuchun Mountains")as a landscape painting subject hides the yearning of ancient literati,the fishing hermit of Yan Ziling and life of mountain residence,and it was poetry symbols showed high praise on Yan Ziling’s noble moral principle,which gradually formed landscape painting image symbols in the Yuan Dynasty,which mainly reflected in the thematic images,such as "fishing and tilling","fishing terrace","islet in a river",and "torrent";2.the life of "mountain residence" had irreplaceable value in the minds of literati in the Yuan Dynasty,as a place of settling down and getting on with one’s pursuit,which pointed to the mentality of literati whose morality were higher than power,and "mountain residence painting" shows the strength of character in maintaining personal integrity of Confucianism such as "In and Out,and Refuse and Take",and the pursuit of value is closely related to the popularization of the neo-confucianism in Song and Ming Dynasties;3.Although the "mountain residence" life of Huang Gongwang had obvious color of Taoism,and his travelling landscape behavior reflects the characteristics of "path of cultivation",and he had view of landscape poetry in the evaluation with the characteristics of the "enlightenment" and "mission",which was embodied in the concept of "landscape writing",the concept of "landscape writing" in the Yuan Dynasty was advanced on the concept of "landscape painting" before the Song Dynasty,which is through the belief of "high-away" to "level-away" to be present,which was fully emboded the Song and Yuan landscape change password within;4.In the process of analysis on the thoughts and ideas of the Taoist internal elixir in Southern Sect of Huang Gongwang’s religious practice,the characteristics that the new Taoism features of integrating Confucian cosmology are presented.And then,a link is made between the "metaphysical" level of Huang Gongwang’s thought system and the images of the landscape writing,and begin with the perspective of "thing-in-itself and phenomenon",the characteristics of Huang Gongwang’s "true shape of mountains and rivers" are presented one by one,realizing a high degree of unity between thoughts and images;5.From Ming Dynasty,"literati painting" system which was established by the literati that represented by Dong Qichang pushed the "Dwelling in the Fuchun Mountains" as one of the representative work,and it was constructed as model tied with the "group classics",which made the concept of the "Fuchun" in the Early Qing Dynasty as a natural landscape visual symbol,and in painters’ representation ofpainting landscape,carrying a literati aesthetic and self-cultivation dual ideals of literati.Therefore,the "Dwelling in the Fuchun Mountains" which actually represents the highest standard of the aesthetic spirit of Chinese literati and the inner value of the neo-confucianism in Song and Ming Dynasties were embodied.