The Study Of Yao Hua's Painting Artistic Thought

Yao Hua(1876—1930)is a famous cultural celebrity in the end of Qing Dynasty and early Republic of China. His artistic achievement is very comprehensive, and he achieved a very high artistic achievements in the philology, poetry, drama theory, painting, calligraphy and so on. The study of his painting artistic thought has not caused enough attention. From the perspective of aesthetics and using the method of creative interpretation, this paper given enough integration and preliminary research on it and make every effort to reflect Yao Hua's Chinese painting views and ideas. This paper is divided into three chapters:The first chapter introduces Yao Hua and his background of painting artistic thought. Including Yao Hua's life story, his typical works and his literature, philology, music theory, painting theory and temporal extension of arts and crafts. In addition, it introduces his many other artistic achievementshis painting thoughts generated in special background and its theoretical origin of painting.The second chapter discusses the literati painting tradition of Yao Hua's painting artistic thought in detail. Yao Chinese traditional literati painting is the main features and tone of thought . He defined chinese painting as a kind of metaphysical art and believed that painting is the manifestations and reflect of"Tao". He stressed that the painting should be started in nature and it is a natural way of writing. On the other hand, painting is "spirituality" releasing of composer. There are people in drawing and painting, it is the expression of"natural way"and"humanity". He advocated that painting should be"the pen follows where the mind reaches". In the light of the painting pattern, he thought that we should clean off all the prejudices, neither sticking nor disdaining to the ancients. We should go beyond the traditional restraints and seeking for a state of"self-suit". He advocates " blindly eager for beauty whereas neglect the true, seeking truth then lost beatuy " and " to not beauty as the beauty " in the painting's conception, comment and appreciation.The third chapter mainly discusses Yao Hua's theory of poetry, calligraphy and painting are one system. He advocates that the painting should be inscribed, and poetry, calligraphy, painting and printed should achieve the organic unity in the painting. He further discussed the theory and practice of inscribed on painting,and point out that"inscribed on painting is not painting, but indeed still painting". While inscribed on painting is not painting, but it is an important part of painting, it can balance the structure of the painting, point out the conception and expand the space of it. So in this sense, inscribed on painting is painting. He advocates that calligraphy and painting have the same homologous, poetry, calligraphy, paintings and print should be united in the "heart". Poetry, ci poetry, songs and fu are the important part of painting. He advocated that we should get through the various barriers that exist in the four kinds of art forms and reach a dialectical unity of the ideal state of harmony, achieving the ideal of dialectical unity and a cherished dream about fusing poetry, calligraphy, paintings in one realm.Yao Hua's painting artistic thought is coming from Chinese ancient literati painting theory but it developed the theory of literati painting in the context of the new era of art. He put forward his own ideas on it and injected new vitalities and activities to the painting circle in Early Republic of China. His theory has produced a profound influence in the history of Chinese traditional painting criticism.