The Xingshen-theory Of Chinese Classical Painting

The xingshen-problem is the core issues of Chinese painting theory,and throughout the Chinese painting theory.Throughout the development and features of Chinese Painting xingshen theory,and the development trends of aesthetic ideas,the relations of xingshen can be divided into three stages:re-shape-emphasis on the spirit and shape-emphasis on the spirit.The main features of Qin and Han Dynasties aesthetic spirit of the painting conception is re-shape.The function of art is shaped like objects in order to enable people to distinguish between good and evil.In the concept of re-shape,it have had the thinking of "jun-xing"in Han Dynasties,and have had a certain degree of understanding of the spirit.The main features of Wei and Jin Tang and Five Dynasties aesthetic spirit of the painting conception is emphasis on the spirit and shape.Under the influence of ideological,aesthetic paintings created a written form of spirit in the spirit of the new concept.The field of aesthetic found to be a big discovery of the natural beauty.A natural landscape as aesthetic object,landscape painting rise.The xingshen theory of chinese painting develops from figure to landscape painting.In Tang Dynasty,and unprecedented access to Chinese culture and arts development,the main spirit of a publicity release bockii reserved on the outside of the gradient.In the ideas on aesthetics,sublime ideals and the development of the extreme to the evolution of the aesthetic ideal.in the aesthetic ideal of Tang Dynasty,Whether in the performance of high-spirited and progressive and promising,the magnificent vitality enough performance,delicate feelings of the aesthetic ideal.The main meaning of the situation have been the expression of a certain extent.This is reflected in the aesthetics of painting also appeared in "to the spirit of seeking the painting,while the shape in which" spirit of the concept. The main feature of of Song,Yuan,Ming and Qing Dynasties aesthetic spirit of the painting conception is similarity in spirit.Aesthetic ideal of the scholar painting became the dominant throughout the period.Those scholars stress that painting is the performance of personal emotion and charm that natural,refined and elegant.They are no longer in the shape of the sperm detailed portrait of the honor,but see the true feeling in a few hasty.Plum,orchid,bamboo and chrysanthemum as well as mountains,rivers, trees and stones in their paintings have become symbol of their personality,mind and emotion.They are no longer purely objective,but become the main medium to convey that dip of the main feelings and emotions of the painter.Song Dynasty's painting no longer look at the shape of the object or not,no longer care about the shape of the object and the re-characterization of the precise spirit likeness,but place emphasis on the expression of inner feelings,so people talk about the painting more usually use the word "meaning" and truth,Yat.What's more,they attach weight to convey their inner emotion and feeling.Therefore,the artist's cultivation is high valued radually.On one hand,they pay attention to the cultivation of the artist's character that indifferent to material requirements and have a refined heart.On the other hand,they pay attention to the artist's self-cultivation and knowledge.Under the influence of romanticism and Mind, the Ming and Qing Dynasties painting created by the performance of the main feelings is no longer indifferent to the literati,refined elegance of the situation,and to become self-ecstasy people with personality,crazy strange feelings flowing.With this kind of crazy emotional state appropriate to convey,painting is like an informal often with dripping color and exaggerated deformation between similar and not to find the possibility of emotional expression and create did not seem like the paintings.