Wang Meng Seclusion Landscape Painting Research

It is well known that landscape painting became a separate subject from Suidynasty, and developed quickly in Song dynasty, while it reached its top ofdevelopment in Yuan dynasty. The reclusive thought of landscape painter and thepursuit of image and ink in Yuan dynasty, as well as the special social environment,made the literatis’ creative environment and mentality a fundamental change. Thelandscape of “four painter in Yuan dynasty” was the product of this special historicalperiod, and four different styles of landscape also represent the landscape painters’understanding of the true landscape and insights to some extent. The dense landscapeof Wang Meng is full of beauty of strong artistic conception and has a huge influenceon the present painting.Wang Meng created a distinctive personality of Landscape painting due to itssuperior family and hard study, as well as the fusion of his own talent and wellculture. Therefore, the landscape painting of Wang Meng not only had a newbreakthrough in the schema and techniques, but also developed the traditionalaesthetics. It showed the deep and dense aesthetics. Wang Meng experienced thelandscape in Jiangnan, and characterized lush vegetation vividly with wet and dryinteroperability points and similar the ox hair reconciliation cable lines. The densecomposition fully expressed the seclusion of his mind, cottage and den was the "eyeof drawing” in the schema.The purpose of this study was to explore the political and cultural background,and Wang Meng family background of Wang Meng’s seclusive landscape paintingby the evaluation of Yuan dynasty history, local history, the development oflandscape painting in the Yuan dynasty, and Wang Meng’s life to research employingtextual research method. We read and assayed the seclusive works of Wang Meng,visited Huangheshan where Wang Meng lived in seclusion, and sketch objects, suchas Wu Xing Bian Mountain site to investigate Wang Meng’s seclusive landscapethinking, schema and pen and ink techniques aesthetic mood. The present studyfocused on Wang Meng’s attitude and artistic expression when he enjoyed the natural landscape, attempted to summarize the Wang Meng landscape painting techniquesand artistic language, and put forward some specific views and opinions of theinheritance and innovation for future landscape painting. By this way, this study willbe developed in theory and practice.