The Wane And Transform Of Traditional Blue-Green Landscape

Blue-green landscape in popular in Sui-Tang Dynasty and the royalty court of the late North Song Dynasty as the primary style of landscape ever is the most important part in the traditional Chinese painting. This landscape pattern which mineral heavy-color dominates has formed the unique aesthetic feature and perfect system of language style in the process of self-development and maturation, and become the earliest mature pattern in the classical landscape painting. Landscapes of the water-ink and tinge styles etc. arising subsequently is influenced by the mineral heavy-color in some extent.Traditional Blue-green landscape succeeds the art feature which has the linear-structure as the main sculpture method, and adopts the manner of sketching lines and filling color to form the language system and aesthetic feature fitting the heavy-color and linear-structure. For instances, linear-structure feature generalizing the objects and organizing the drawings by lines presents depicting feature; Features of symbols and patterns, generalization and mosaic make the paintings present the ornament and romantic features; Concave-convex method used in the paintings succeeds the patterns and ornaments feature of early jade and bronze articles, which makes the paintings present embossment effect and results in the arising of Cun technique finally. Under the condition of the development of painting realistically, because of the restriction of heavy-color materials with regard to the detail portraying, the water-ink fitting exquisite representation appears increasingly. It enriches the expressive force of the Blue-green landscape, causes the maturation of the pattern of Blue-green landscape in Tang Dynasty, and finally forms the two main patterns of Blue-green landscape. One is Iron-line and Blue-green landscape which is presented by Li Sixun and Li Zhaodao as representations, the other is clear and rich pattern which is presented by Wang Wei as the representation. At the same time, painters increasingly attaching importance to the water-ink factor makes the absolute water-ink landscape spring up rapidly. Moreover, literators and scholar-bureaucrats prefer to the aesthetic sentiment of the water-ink landscape. Both the two factors bring about that the landscape deviates from the former pattern of heavy-color and consequently turns to attaching importance to "making the ink various changes by water", and result in the mainstream status of traditional Blue-green landscape disappearing gradually. In late North Song Dynasty, the royalty aristocrats and royal court painters attached most importance to the Blue-green landscape. But under the condition of the full development in water-ink landscape system, these painters' works of Blue-green landscape had already syncretized with the water-ink landscape in great extent at that time, away from the characteristic of the Blue-green landscape in Tang Dynasty.After Song and Yuan Dynasties, traditional Blue-green landscape was influenced by the factor of water-ink increasingly and obviously, and evolved the pattern of minor Blue-green landscape which bases on the brush and ink and emphasizes the exertion and representation of the water-ink. For the minor Blue-green landscape, color is secondary. This Blue-green landscape has lost the sense of heavy-color, and the traditional Blue-green landscape' features of line-structure, mosaic, ornament etc. are cleared up. The independence of Blue-green and heavy-color in the traditional Blue-green landscape has disappeared. The evolution of the traditionally Blue-green landscape becomes the process of continuous assimilation of the water-ink and disappearance of individuality. At the same time, many painting characteristics and language symbols of traditional Blue-green landscape are succeeded and transformed by water-ink landscape, and becomes a part of the water-ink system.