The Inevitability Of Literati Painting Of The Ming And Qing Dynasties To Of The Contemporary Academy Painting

As a continuous heritage and an innovative painting in the history of the world, Traditional Chinese Painting has continued for thousands of years so far and has its own uniqueness and charm. From historical point of view, the screen form, appearance, style of the colorful inherited paintings is colorful and varied, but every time has a painting style which occupied a mainstream position. This paper is beginning with the point that the position of mainstream painting transferred from academy painting of the Tang and Song Dynasties to the Ming and Qing literati painting as a mainstream painting position, combines with the very development of modern social, educational, as well as contemporary reflection on the traditional, and also combines the development process of the contemporary academy painting, and then asks the specific meaning of the contemporary academy painting, then, produces the connotation and the reason of it, the analysis of his situation, finally, summers up the inevitability of change of the mainstream painting status of the literati paintings of the Ming and Qing Dynasties as a mainstream painting position painting to the contemporary academy. The first part of this paper is to describe the changes of academy painting of the Tang and Song Dynasties to the Ming and Qing literati painting. And it simply combs the production, development, characteristics of academy painting and literati painting and at different times how they occupied the mainstream position of the painting. Besides, it summers up the own reason and social reason of the mainstream status change from Tang Song academy painting to the Ming and Qing literati painting, and reveals the inevitability of this change. The second part is mainly about the change from the Ming and Qing literati painting to the contemporary academy, which is the key part of this paper:first of all, it analyses the limitations of the Ming and Qing literati painting and gets the answer that what’re their own reasons, social reasons, or other factors lead to the decline of Ming and Qing literati painting. Then it has the analysis of the development of contemporary academy painting, its concept and summarizes the reasons for the change of the mainstream status and the inevitability of literati painting of the Ming and Qing Dynasties to of the contemporary academy painting.