Research The Potential In Lu Yanshao’s Landscape Painting

Since the "Six Laws" has produced,"vivid" which became the eternal China painting is noteasy to judge the standard, from the Chinese painting creation practice perspective, the artist’sworks to the aesthetic height also pursue "vivid charm". If the "vivid" belong to "Tao", thenlater "laws" can be attributed to "machine", the painting with the term current reporting,namely text, image, color, composition and schema,"Tao" is based on "device" foundation.Landscape painting stresses "take away its potential, near choose quality", which shows thepursuit of landscape painting artistic conception aesthetic in the weather. Based on this, thispaper intends to take potential way to landscape painting as the core research object, andtakes the Luyanshao’s works as the image carrier, trying to analyze the law among them, witha view to our landscape painting creation practice with a reference and guiding significance.In the introduction part, an overview of the current scholars "research status of potential" andLu Yanshao’s landscape painting, find out during the appropriate combination of point andcan explore the space; the one hand it indicates the typical and representative of the researchobjects, so as to the image and text combined as breakthrough discuss. In the second chapterof this thesis, is a review of "potential" in Chinese landscape painting history, the main focuson to explain the "potential" from the angle of aesthetics, analyzes its features and value, andfrom the perspective of the painting schema analysis characteristics and the importance ofartistic expression. The universal law of grasp of things, is based on a series of individualthings deeply on rational knowledge, so the potential take the road exploring an effective wayis the case study, so in the third chapter, select Lu Yanshao’s landscapes paintings (1975--1993) as the research object. First of all, combined with Lu Yanshao of subjective andobjective factors, motivation analysis of the heavy "potential"; and then sorts out the works inart scene and using various "why" pen and ink of fortune; furthermore, to take power in its work on the classification schema, but also further dissection of its potential the tao. In thelast chapter, by the case study and back to the realistic significance to take potential in thelandscape painting creation practice, and emphasize the thought core is "nature outside, in theheart of the source", and because the painting subjects because of its temporal displacement,but also gives "potential" the new form and connotation.