The Pictures Of Antiques And Flowers (Bogu Tu)

In the art history of late Qing Dynasty,holomorphic extension is a special form of artistic expression.In the form of expression,holomorphic extension is derived from bogu Tupu,which has been popular since the Northern Song Dynasty.By means of ink extension,three-dimensional images are presented on the two-dimensional plane,enriching the forms of ancient objects reproduction.In the academic sense,as the "double" of the ancient relics,the whole shape tuo has relatively objective reduction of the ancient inscriptions and decorations,providing more real image data for the scholars of stone and stone.From the perspective of aesthetics,the effect of the whole taph is very well matched with the eph and the seal,which itself constitutes an ancient and elegant art work.Under the joint promotion of stone collectors,extension workers and painters,the combination of holomorphic extension and painting has derived a new form of artistic expression--holomorphic extension painting.The full-form Tuobu painting combines the stone and stone charm of Motuo and the brush and ink charm of brushwork,which closely coincides with the aesthetic pursuit of "ancient elegance" of literati.At the same time,due to the rise of the "Shanghai style" painting in the late qing dynasty and the extension technique progress,the whole shape of the topology painting outside the confines of the spread of the literati,and gradually become fit art form,in the era of photography technology and the growing popularity of the western still lifes,all form the topology drawing remains its own uniqueness,and even cause the people turn to think about the visual culture in late qing dynasty.No matter from which aspect,holomorphic extension painting is a form of artistic expression worthy of in-depth discussion.It has become a beautiful scenery line in the history of modern Chinese art with its excellent artistic expression and aesthetic characteristics of both refined and popular tastes.This paper mainly discusses the origin,development,content and form of holomorphic extension painting from the late Qing Dynasty to the Republic of China,which is divided into five chapters.At the same time,in the process of discussion,some meaningful issues are discussed in order to clarify the concept of holomorphic extension and complementary painting,to explore the significance of antiquities to different social strata since the late Qing Dynasty,and to observe the aesthetic taste of antiquities images from the Northern Song Dynasty to the late Qing Dynasty.This paper tries to recover the real form of the existence,creation and circulation of holomorphic complementary paintings in the late Qing Dynasty by using first-hand literature and a large number of works examples.When the scattered historical dust recombines again,it will become a door for us to approach the visual culture of the late Qing Dynasty.