| Literati painting, in the late Ming Dynasty, occupy an absolute dominatingposition in Chinese painting history, and it exerts an important and far-reachingimpact on today's Chinese painting. The developments of socio-economic, politicsand ideology and culture in late Ming Dynasty, directly or indirectly influenced thedevelopment of the arts along with others Due to the late Ming society uniqueness,painting, particularly literati painting has achieved unprecedented development. Thelate Ming Dynasty is a shift period in the developmen of Chinese literati painting inklanguage.It is a non-conscious to conscious process with great different ink concepts.Taking Dongqichang's ink language outlook as an example, the author explainedsystematically the aesthetic shift of Chinese literati painting's ink language: that is anaesthetic shift process of turning from being subordinated to a shape to beingindependent, and a process of turning from the mountain-water perception to the textperception. This aesthetic shift has a strong impact on future generations, andespecially with practice and practical significance, it has an important inspiration andvigilance with the reform and development of Chinese painting.There are three parts in the thesis. The evolution of literatipainting ink language from Zongbing to Dongjichang.is explained in thefirst part, which primarily elucidates the process of turning from themountain-water perception to the text perception from Zongbing toDongjichang The first phase is shaped write-shaped stage. The second phaseis more style, and vivid stage. The third phase is ink style stage. Inthe late Ming Dynasty literati painting ink language developed towardstheir own independent aesthetic, when symbols replaced the main objectas a means to express intents.The second part is about the aesthetic shift of literati painting'sink language in the late Ming Dynasty, expressed from the case ofDongqichang's painting, which turned to their own independent aestheticin late Ming Dynasty. This part is mainly two-pronged approach to address.First is the factors that influenced the aesthetic shift of literatipainting ink language: 1. Economic factors. 2. Political factors. 3.Philosophy and Zen influence. 4. the influence of Dongjichang's theoryand practice in Literati painting. The second is the performances ofliterati painting ink language: 1.Theoretically:(1) the theory of theNorth-South case (2) the theory of literati painting (3) the theory ofusing ink language sophisticatedly 2. In practice: (1) emphasized inkwhile Light mount and gap, revered change while deposed sketch.(2) inktaste in replace of traditional shape guidelines.(3) sophsitication andaccomplishment of ink.(4) beauty of ink identity.(5) self-regulation ofink language. This demonstrates not only the inevitable demand in thedevelopment of literati painting after finding it in a high lvevel, butalso the inevitable result that the literati painting develop into acrucial period to go beyond in the process of evolution.The third part is about the impact on Chinese ink language systemfrom the practice of ink language in late Ming. Dongqichang, arepresentative in ink painter circle, advocated the purification of inklanguage, the occurrence of the traditional ink aesthetic shift, and thefull expression of ink language independent aesthetic, and all of theseconcepts have far-reaching implications for future generations.This chapter focuses on the impact from the aesthetic shift ofliterati painting ink language in late Ming Dynasty. First,Dongqichang's painting theory, using Zen's philosophy, not only settlethe crisis caused by the conflict between shaping principles and the valueof literati painting standards, give excellent answers to the two majordifficult problems, effectively defusing the painting circle, which arehow to choose in regard to Song and Yuan Dynasty and how to go beyond thetraditional. He has developed ink language identity, and has a greatinfluence on future generations. Secondly, through this research project,the characteristics of the aesthetic shift of literati painting's inklanguage are shown from a theoretical point, providing some lessons andexamples for the development of Chinese painting ink language at present.Painting should squarely face life;there should be a source of life, butalso a subjective feeling and performance;taking against naturalism, butalso against the natural physical image completely detached from thepurely subjective creation;Specific period has its own specific ink, soink should develop as the times change. |
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