"ink" And Change, Of The Tang Dynasty Landscape Painting

China ink as a Chinese painting of a black material carrier, the Chinese literati painters found a lyrical and expressive words, the essence of smooth elements of a decent God. Black ink is still in the ancient sense of the establishment, but the ink color does not mean that the five elements of "black" and not simply be treated as a color. Because it coincide the Zhuangzi, "Muller is Blindness" and "doing nothing is also respect, plain and Monensin world struggle with the United States," the argument, also advocated by Confucianism and the "Su-painted after the" winds of opposition to the aesthetic decoration exterior ideals. Zen's "color", "empty" ink landscape concept is inherent in the root causes of the rise of the Tang Dynasty, and the situation at that time writers and artists to meet psychological needs, "the ancient Zen poem heart" so that the black ink more civilian realm. Modern ink paintings of the Tang Dynasty originated mainly through the understanding of the limited literature, no doubt has great limitations of the materials to make up for the lack of intervention. The author, through a special carrier - Tang tomb murals of the ink remains, from the side that Early Tang ink to the true face of landscape development, performance appraisal at the time the ink has been basically complete language. In this paper, mainly from the literature and existing materials in the Tang Dynasty show both the full development of the true face of ink, paper consists of four parts:The first chapter," China ink" on the origin, the initial interpretation of the physical properties of ink and cultural attributes (yet black consciousness, black and white cultural origin), with an emphasis on the aesthetic characteristics of ink.Chapter II, the causes of water-and-ink landscape painting, in addition to the origin of the landscape, "Chang God" concept determines the future development of landscape character and the spirit of innovation in an era of Datang be discussed outside the atmosphere, and landscape in the Six Dynasties poetry to tap into the origin of water-and-ink landscape painting, the landscape will be more able to see the ink for and scholars to take the initiative to build an ideal. More importantly, the combination of Zen was "no phase" the idea of trying to straighten out the thinking of the intrinsic landscape ink origin and how the impact of Zen ink painting landscape appears to start with the history, cultural history in the history of ideas and the level of the ink content of landscape paintings more in-depth explanation.Chapter III: "color" lost and "ink" to develop, from the Tang Dynasty landscape with green ink in the sub-source, by the technique of writing Wudaozi change as an opportunity, through the literature of Wang Wei, Zhang Zao, Wang contact turquoise landscape painters such as creative practice ink records, small break out of ink, splash-ink techniques, such as inks, as well as summing up the theory with the embryonic form of ink to try a new perspective from the water-and-ink landscape painting in the Tang Dynasty the true face of development.Chapter IV: relics of the Tang Dynasty murals Pursuit of ink, the expansion of the Tang Dynasty ink landscape study of the vision of change, archaeological excavation of the Tang tomb murals of the tomb of Prince Zhang Huai murals, South Lane Wangcun Webster family tree tomb murals and Fuping Ladies Figure Zhu Village County Road 6 ink landscape screen to provide a strong evidence, from the Early to the different periods of the Tang tomb murals of the three trees in the composition of the rocks, modeling, using ink, color, etc. with detailed analysis and attempt to develop an integrated literature in contemporary Wudaozi, Wang and Zhang's style pendant of pearls on coronet of reference, to capture some of the things law, with a view to a more objective understanding of the development of the Tang Dynasty ink landscape painting the real situation.