Ink Flying Colors Dance With The Mind,Thick Coated Light Wipe Always Suitable The Study Of Painting Color For ShiTao

There are many researchers of Shi Tao. But most of them focus on his innovative spirits and his theoretical writings Draw Quotations, as well as his birth and death, the tracks of his life courses, and his friends. In order to explore the use of painting color, this paper attempts to start from Shi Tao’s particular point of view about painting color, which is different from the previous single from the appreciation of Chinese ink painting pattern perspective. In Shi Tao’s paintings, ink and wash is just one way of color forms. In other words color forms are enriched and developed by ink and wash.The introductory part of this paper is the foreword, which includes an outline of the early Qing Dynasty painting, the pale color tradition of Chinese literati painting, the traditional Chinese color concept, defining the meaning of color, the significance of the topic and the research methods of this paper. The text is divided into three parts. The first chapter describes the painting environment of his time, which is respectively represented by Wang Yuanqi (Orthodox painter) and Bada (Wild painter). This part analyzes the color of their paintings. Wang Yuanqi inherited the tradition of the light-red and ink-based color form. The Bada hardly used color and let ink replace color. The second chapter discusses the color form of Shi Tao’s painting. In this chapter, Section Ⅰ reviews the evolution and ideological roots of Shi Tao’s paintings. From Section Ⅱ to Section Ⅵ, the paper respectively explores his exceeding of Wang Yuanqi, Bada and himself. The third chapter further explores the aesthetic implication of Shi Tao’s painting color:(a) Ink comes from heaven-emulating in natural colors;(b) Ink is inspired by the spirit of life-lively and dynamic;(c)Ink gives sense of beauty-a coherent color tone;(d) Light is emitted from chaos-the use of light color. Finally, the conclusion.Through discussion in this paper, we can find that the color form of Shi Tao’s paintings is much more diverse and flexible than we imagined. Sometimes he used ink, sometimes color, and frequently strong color and light color. The naturalness, life spirit, a sense of beauty and light contained in Shi’s paintings, all reflect the strong Chinese aesthetic implication. For the literati ink painting tradition, Shi’s creative changes on color form is very valuable. And he greatly enriched the painting color skills, which had a profound impact on later painters. So Chinese painting actually doesn’t lack the color form.