Qiu Ying’s Painting Of Peach Study

Tao Yuanming<Peach-Blossom Source> and the associated Chinese literati arti sts throughout is always an interesting cultural phenomenon. They seem to find some cultural quality needed for life from Tao Yuanming:a way of life, to roam in the imag inary fairyland; an aesthetic journey, get spiritual comfort; a realm of life, sublimation in detached and enjoyment in character. Tao Yuanming and the "the Peach Garden" h as become a special cultural symbol China literati in the eyes of the.Landscape painting in the development of China since the Tang and Song Dynast ies, both the early history of fairyland landscapes or late development into the mainstr earn of seclusion landscape, after all the "ideal" landscape image rendering process, "t he ideal landscape of the Peach Garden legend" rooted in the peach flowers flowing a way with water, it is consistent with the China landscape painting purport. "Taoyuan map" theme has also become China painting popular "painting". In the "Taoyuan map " for the theme of creative evolution, ancient painters constantly changes in content an d form the subject, formed from the "fairyland landscape", "seclusion landscape" to "s ecular" landscape ", field landscape" change process. In essence, content and form of t hese differences are a good representation of the painters contemplation of ideal life y earning and real life, is the real experience of visual presentation.Since the Ming Dynasty, "the Peach Garden" on the poems and paintings appear ed in large numbers, in the process of gradually into the Chinese literati painters thoug ht becomes more abundant. And in the late Ming Dynasty, along with the developmen t of political and economic development of Jiangnan area and Wumen school aestheti c fashion, "the Peach Garden" painting is the breakthrough of upper class or aristocrat ic literati class limitation, gradually into the civilian, this also indicates that the weake ning and variability as a symbol of spiritual and cultural symbols once the Peach GardIn this paper, taking the Taoyuan fairyland Anglophobia "map" as the research object, first of all, from the point of view of "Taoyuan fairyland figure" creation background, expatiates the influence of social environment on the Wu school aesthetic fashion, wi th a view to a comprehensive, accurate grasp of Anglophobia painting style and its loc alization in the Wu School of; secondly, reviewing the "Taoyuan map" in the cultural history; finally, the analysis of Anglophobia "Taoyuan fairyland figure" picture langu age and artistic expression, intends to explore the Qiu Ying’s "Taoyuan complex" -- a nd the yearning for life. In a word, through the "Anglophobia Taoyuan fairyland figur e", clearly you can peep out the Ming Dynasty painting "secular" tendency, which ech oes the characteristics of commodities in the Ming Dynasty painting, for us to re reco gnize the Ming Dynasty painting history, provided very good inspiration to understan ding of the Ming Dynasty culture.