Between Northern Song Dynasty And Southern Song Dynasty,the Change Of Figure Painting

Between Northern Song Dynasty and Southern Song Dynasty, political instability, capital mobility, territory destruction, although hereditary imperial line of succession and "Chongwen" policy is essentially the same, the ideological and cultural development of the Northern Song Dynasty has changed a lot compared to Northern Song Dynasty,and then, from the aesthetic character of painting, themes, forms and other corresponding changes have taken place, which constructed a rich and varied occasion of the Song figure painting. Song occasion figure painter got what achievements in the inheritance and innovation of their predecessors? During the historical turning point from north to south, what is the relationship between their artistic styles and such changes in the political environment? What did they provide for the later development of portraits? These three are especially to be focused on the theme of this article.This paper is divided into four sections to illustrate the reasons and revelation about evolution of the Song occasion portraits. The first chapter sort out the link between Figure painting style and the occurrence of major events, political environment, economic recovery, urban development and cultural change. In HuiZong period, the art academy system perfected, subjects admitted to open, painting school and calligraphy painting Ph.D. vigorously initiated, so the aesthetic orientation to literati painting and body painting appeared relatively clear distinction with a greatly upgrade status of the artist. Song dynasties later, from aesthetic to the painting way,literati painting thoughts made new breakthroughs and development such as a comprehensive integration of painting, poetry, books and printing appeared. But also the artist gave a more flexible random on imperial system, completely getting rid of their identity as labor-service or technical officer.The second chapter mainly discusses the theme transmutation in the Song transition period and further expanded theme which early Southern Song Dynasty have retaining on the basis of late Northern Song Dynasty portraits. Owing to the volatile situation, paintings directly concerning people’s struggling lives and their depicting patriotic themes or historical stories greatly increased,however, paintings concerning royal palace tends to decline significantly. As the aspects of customs and habits, compared with the late Northern Song Dynasty, Southern Song Dynasty painting improve a lot,which we can see from the the broader theme scope pressing more close to life of the labor people and a simpler style. In the ideological and literati painting influence, Taoism painting has changed its original mystery in Song Dynasty, especially forming freehand unique stick figure,a typical Chinese figure painting,famous as representative Liang Kai until after the Southern Song Dynasty. Not only does the Taoism painting has Jane rate grotesque shapes, but also intentionally injected into his own individual uninhibited spirit.The third chapter focuses on the behavior technical transmutation of Chinese figure painting in the Song transition period, which is the core part of the paper. This chapter begins on the modeling of the Song paintings.Compared to the late Northern Song Dynasty, paintings of the early Southern Song Dynasty gradually reduced,frame size, comedy album and fan works become particularly popular, which links with its more focused on manner of performance in a single figure and a reduction in setting the scene and the expression of the remarkable microscopic space. In the painting language, compared to the " line drawing " painting of Northern Song Li Gonglin, Southern Song Dynasty portraits don’t completely have the goal to pursuit the perfection of painting, so they further expand the expressive pen and ink painting and the color is also more inclined to advocate literati ink in order to convey the quiet charm. Shape of the Figure painting character somewhat stylized and simplized and have mixed his own subjective charm into it than the Northern Song Dynasty. The setting tends to be simplify, or even have no background, only single characters, but also highlights its characters embodied symbolism behind and to convey the artist’s inner spiritual meaning and cultural values.As well as the impact of landscape painters, it also appeared angle type composition, reflecting the artist to explore the beauty and poetic of portraits.The fourth chapter is the inspiration and reference what painting in Song period give to today,from the author’s perspective as a practical painter. In this open, equality, integration, and free environment, only the painting catch up with the times and absorb the essence of the different cultures, can make Chinese figure painting flourish.The purpose of this writing is designed to comb context of Figure painting development. History and culture, political,economy and the arts, have found a new fulcrum for the development of Chinese modern and contemporary Figure painting, which regards human aesthetic as subject by shaping the touching characters or enlightenment characters to convey the artist’s life and understanding of the outside world. Nowadays, we also need to be tolerant to absorb nutrients at all times to ensure a more profound and comprehensive work.