Xiaoxiang Complex In The Theory Of Traditional Chinese Landscape Painting

Xiaoxiang Figure pour at alarming rate from Two song generation to YuanMingQing DanystyThrough sorting the history of the langdscape paingtings,you can find out its deriviation process at ease. Why so many artists can never get enough from Xiaoxiang complex? This is really thought-provokingLooking through the history of art history, since the Song Dynasty, a number of Xiaoxiang Figures from different artists was born in the transformation process of the inner spirit’s expression, which ist the main body of paintings. Compared to the previous age, it has of course richer humanistic meaning und more emotional experience and rational thinking of Painters."Xiaoxiang" described by the artist and poet is not only a geographical area, but also a poetic concept of culture. Every piece of Xiaoxiang Figure contains a legend and attract other’s exploration. Between the Xiaoxiang Figures have they also a clue to put them together. Therefore,these Xiaoxiang Figures can be looked as a collective expressions of literatis or Intellectuals. Some people are decadent and wild, and express their ideal und ambition through the landscapes. Some people are careful and tell their wishes by the landscapes. Some people still want to be as a official because of a tiny of hope, and seek self-comforting by the landscapes.A number of emotions and feelings bring together and result in a continous, thick Xiaoxiang Complex. They relate to so many people, and almost all of the landscape-painters love them, they also relate a very long time, that’s to say, rom the Five Dynasties to the modern times, so this phenomenon is worthy of studying. In the paintings with the Xiaoxiang Figure theme, it evolved into the south to the little scene of South of the Yangtze since Dong Yuan, what is the reason? Why have they not painted a true Landscape of lakes und mountains? it is by accident or intention to be done? Been there paintera to paint the true Landscape of XiaoXiang? These problems are all the scope of the paper.In the specific rationale, the whole passage can ba devided into3parts.The first part summarizes the oringin of xiaoxiang and its appliance in art and literature.I try to figure out how is it applied in art,the images it described and the reason why it can become sensational.And the second part I use time as my clue to discuss yhe evolution of Xiaoxiang and its mutual deriviation relationship.this part focuses on how the painters from SongYuanMingQing Danysty choose between the differenf images of Dongyuan and Songdi and why they do so.And then I proceed to the third part.And the third part I focus on probing into the factors that make the images of Xiaoxiang more close to the Jiangnan paintings.Ang then i figure out that the pushing hands are Mifu and Dongqichang.Mifu did so just to promote his own styles;Dongqichang echoes Mifu’s theory to advertise his own North-south Pope theory.