Japanese Literati Painting In Edo Period And The Its Compare With Chinese Literati Painting

This thesis on Japanese Literati Painting in Edo periodand (1615-1867) anatomizes the art style evolvement and inspiration source of the representative Japanese Literati Painter including GION Nankai, SAKAKI Hyakusen, YANAGISAWA Kien, IKE-NO Taiga, YOSA Buson, URAGAMI Gyokudou, AOKI Mokubee, TANOMURA Chikuden, etc. It clarifies the course of self-development of Japanese Literati Painting, and explains creativity characteristics and individuation of Japanese Literati Painting in the contrast view with Chinese Literati Painting in the same period, on the identity of painter, the subject masters and function of the works, the ink and the colour and so on.As far as this thesis concerned, there is a certain heterogeneity-but-same-structure relation between Japanese Literati Painting and Chinese Literati Painting. This kind of special artistic influence causes the dramatic tension of the communion of Fine arts between China and Japan since mid-late period of 18^th century. The difference from identity meaning of Chinese Literati Painting is that Japanese Literati Painting names of its art style. Since the Chinese Literati Painting in Ming and Qing Dynasty was introduced to Japan, Literati Painting became a kind of culture vogue, which mixed the original style of Japan and Chinese Literati Painting in Ming and Qing Dynasty. So it took on a soft of colligation characteristic. The simple and frank style, rich colour, strong decorative sense and the folk poem (Haiga) theme of Japanese Literati Painting, make it was different from Chinese Literati Painting which emphasizes the spirits of brush and ink. And then, Japanese Literati Painting formed art style of itself and achieved its self-construction.