On The Influence Of "five-party" Concept Of Traditional Chinese Landscape Painting Azimuth Consciousness

Landscape painting is regarded as a carrier for expressing the Chinese traditional cosmology and social cultural concepts, which includes the lifestyle and emotional concept that are used by the Chinese. Newly survey and exhumation of styles of art not only do good to the creation and performance of the landscape approach but also benefit the effectuation of the height and depth of Chinese tradition. Under the cultural background of Confucianism Buddhism Taoism, the painters combine the unique sense of spatial orientation that is particularly formed in Chinese geographic environment, deeply influenced by Yin-yang and Five-element thoughts and the theory of integration of the universe. While they produce landscape paintings, the painters use the perceptions towards nature and the summaries of experience and law, making the scenery, azimuth and constitute of the landscape paintings in order to achieve harmonious landscape that man is an integral part of nature.Starting with historic headstream of azimuth consciousness in landscape painting, this thesis illustrates the original ideas that our primeval people chose residence and reflects the key functions of azimuth consciousness when our ancients understood nature, through the comparison between geographical environment and old era background. Five orientations came from Yin-yang and Five-element thoughts and the assortment of time and position formed the earlier space concept. The traditional painters are devoted to showing limitless artistic conception of landscape painting within the limited space. Under the guidance of space concept countless beauty of nature condenses into artistic conception of landscape painting in the course of the interchange between man and nature. Beginning with the creation mode of being able to walk, see, travel, and settle, the second chapter analyzes the influences of azimuth consciousness upon traditional landscape painting creation.Based on cartography and garden azimuth layout, it deals with the relationships between the two items and landscape painting creation and makes an analysis of painters’ conceptions towards different geographical environment. From the important functions of arrangements for the location of "six principles", and through the analysis of typical examples of landscape paintings, the third chapter dilates upon locations of scenery such as mountain stones, trees, rivers and buildings in the painting. The composition of each scene owns its unique laws of nature and the painters form this kind of thinking mode, that is, space location awareness in the practical observation and life. In the last place the thesis combines colors and location, and analyzes the analogy between coloring in the painting and location.The thesis centers space location awareness and exposits the influences of the painters’ potential thinking mode in the course of landscape painting creation upon scenes’ location. The landscape painting itself is an cognitive power, a spiritual symbol, and a style of art that exits together with traditional culture. The thesis makes a study of "five orientations" used in location awareness in the landscape painting, which is another kind of interpretation of landscape painting, and the recognition of the value of location awareness in Chinese traditional culture, which is far-reaching.