The "Virtuality" In The Chinese Traditional Landscape

The "virtual construction" which as a technique of creation reflects the highest level of "Tao" that traditional literators understood. They use the "infinite" space to present "nihility","indifferent","remote" in "Tao", which can be attributed to "the spirit of earth and heaven" and "the realm of life". In the later development, literators also draw an analogy to "ZenTao", and express it through landscape paintings. Given this, the landscape paintings will become a microcosm with "the spirit of earth and heaven". This microcosm includes a kind of "infinite" and eternal life realm that come from infinite suggestions of the "remote" space in landscape paintings. And the microcosm could incarnate an infinite Taoist spirit. So the virtual construction has a close relationship with the space in paintings. The reason is the virtual construction need to express the infinite space which can trigger endless imagination to make "remote space" into an infinite "virtuality".Taking the traditional Chinese landscape painting as research objects, the thesis based mainly on the several stages of painting’s evolution to make a stratification study. This is particularly reflected in the chapter two. From the landscape paintings infancy to maturity, the first phase researches the "something like virtuality" of DanQing paintings as background image, and the artistic conception of "deep-space" in the independent landscape paintings beginning with ZongBing. Second phase five generations of habitat landscape "virtual construction" build two Song Shi, mainly analyses the technique and virtual reality landscape in construction techn iques, the third stage for sui dominated by "virtual construction"construction techniques become yan, mainly analyzes the rise in the yuan dynasty of freehand brushwork in traditional Chinese painting landscape virtual environment construction of related techniques and the inheritance and development of the Ming and qing dynasties. Based on the research of the second chapter, third chapter landscape painting to sum up the methods the author works out the basic framework of virtual environment construction techniques. The fourth chapter "virtual construction" extends to the contemporary landscape painting, as well as experience of writer in the landscape painting creation.。This dissertation explores the technique of virtual construction in Chinese traditional landscape paintings, which try to find inspiration from theories about landscape paintings in ancient china. Analyzing the virtual construction in every aspects, we can make an summary of the virtual construction in traditional Chinese landscape paintings, and forming an systematic methods. This is of one aim of this paper. The study of the techniques of the virtual construction on the one hand seeks to change views with one-sided and superficial that think "virtuality" is the "Emptiness", leave a note and so on. On the other hand, it served the function of a go-between to understand deeply the "virtuality" of landscape paintings. This is the second aim. The third is, I hope it is helpful to my composition, and become one of basis of the landscape paintings theories. At last, it can make the landscape paintings cling to the essential spirit of paintings, which refers and represent the cultural value of landscape paintings.