A Study On The Painting Schema Of Pan Tianshou

The word schema originates from ancient Greece, which was first applied by Kant, I. in the field of philosophy. Afterwards, the British art historian, Gombrich, introduced it in the art field. Gombrich pointed out "schema is not the product of’abstraction’ orientation of’simplification’but a transcendental rough scope created originally." Schema is characterized by prototype, transcendentality, universality, sharing and expansibility. Only in accordance with the mentioned characteristics can a pattern be called as a schema. The schema is constantly developing, and so is the schema in painting.Swiss psychologist Piaget into the psychology, Piaget thinks that people are born with a kind of "schemata" in the brain, it is in the exchange of subject and object, enriched and developed the "schema".20 th-century British art historian Gombrich and reference it in the field of art. As Piaget, Gombrich think "schemata" in the art is also constantly move forward in the process of the modified, when a schema is not applicable, will be the establishment of a "new pattern". Visible, in the field of painting, "schema" is not only a specific "visibility" characteristics, at the same time also has the developmental characteristic, is precisely this kind of its development, to promote the continuous development of the painting.Pan Tianshou as the most outstanding Chinese artists of the 20th century, sample depending on the ancient and modern, the broad group, while the traditions developed unique personal style, outsize painting style, created a new drawing picture, Chinese painting has become the new paradigm of schemata of traditional Chinese painting.The article can be divided into five parts. Part Two mainly discusses the formation of Pan Tianshou’s painting schema. The schema is continuously developing and the foundation of the new schema can’t be isolated from the foundation of the old one. Pan Tianshou’s painting develops from the traditional painting schema. Part Three mainly analyzes the linguistic characteristics of his painting schema from the four respects-the structure of schema, space, line font and ink color. Analyzing the linguistic characteristics of his painting schema, the writer analyzes Pan Tianshou’s unique visual effects, that is, square structure and steady and sublime visual effects, the combination of tilt and vertical direction and steep visual effects, the visual effects of enclosure and linkage, the visual effects of planes and decoration. For the analysis on the linguistic characteristics of the line font, the writer analyzes the following artistic effects-- unadorned, powerful, loose and smart characteristics from the perspective of the following ways of line font painting-unsmooth, square and regular. Part Four mainly studies Pan Tianshou’s painting schema and the modern visual transformation of Chinese painting. The writer analyzes how "visuality" characteristics in Pan Tianshou’s painting schema influence the modern visual transformation of Chinese painting, and draws the conclusion part based on the research on visual interaction and guide and visual reason and consciousness.Pan Tianshou’s paintings differ greatly from the traditional schema in the manifestation of aesthetics of sublimity, compositions of lense, and experience of visuality, which are completely different from the traditional schema’s pursuit of space expansion, artistic calligraphy feature in painting, linear of framework, appreciative readability, and aesthetic femininity. These individual styles in his paintings, with the characteristics of prototype, sharing and universality are widely accepted and followed by the later generation of artists. The development of Pan Tianshou’s paintings is based on the traditional painting schema. Arguably, his paintings possess the characteristics of transcendentality and expansibility. It can be concluded that Pan Tianshou’s paintings are regarded a kind of schema.