Traditional Landscape Painting, The "lofty" Law, The "far" The Law Implies And Correspond To The Confucian Tao Spiritual Realm

Just like in the field of literature,the phenomenon of the two depending aesthetic styles contributing to Chinese traditional culture also appears in the field of Chinese traditional ink and landscape painting .If we make a comparison between the northern school and the southernschool -- two different schools in different drawing styles in Chinesetradition landscape painting history ,we may find that the northern school are good at drawing in "GaoYuan Way "(accompanying with "ShenYuan Way" ) which can make the spectators feel "stonge" in spirit while the other school do well in drawing in "PingYuan Way" which can make its works "soft" .landscape paintings made in "GaoYuan Way" seem magnificent while those in "PingYuan Way" plain .As the concrete expression of ideas of cofucian "gangJingZhongZheng" in order to pursue the farsighted state ,not only the strokes in drawing in "GaoYuan Way" are vigorous ,square and zigzag ,but also "DianChun" and "DuanChun" are very short and tough. High mountains,vast plains,long rivers and flying waterfalls are depicted vivicly in the pictures .The lofty mountains are metaphored as gentleman's elegant demeanor and venerable elder's moral caliber which are obviously influenced by the idea of Confucian " WeiTianWeiDa" and"BiDe" . The design of "The huge mountain is the master of all the mountains" is similar with Confucian harmony of patriarchal and ethical ideas .on the other hand ,paintings in "PingYuan Way" use soft lines and polished dots to stress the grotesque shape of the mountains .There is no air of provoking or flaunting .This is Lao Zhou's esteem of weakness and softness of his aethetic ideas.Pictures made in "PingYuan Way" pay special attention to "Xu" ,"Wu" and "Jibaidanghei" .they think that places undrawned in the picture are potential .This is closely linked with Lao Zi's" YouWuXiangShen". Beauty in "PingYuan" fading in or out gradually is the description of Lao Zi's dim and hazy beauty .In a word ,we can see some of Taoist ideas fron landscape paintings in "PingYuan Way" .According to Chinese traditional painting aesthetic ideas we can make such a condusion that two different styles and realms of landscape paintings happen to coincide with confusion and Taolist lofty spiritual ideal state .In this thesis ,the author puts on emphasis on discussing and researching the aesthetic sense and philosophical details that can be expressed in the two different artistic styles through the corresponding relationship between two different designs of painting and two aesthetic states.