From The Evolution Of Concept Of Form And Spirit See Lyricrism Of Chinese Painting

The exploration and research of the lyricism of traditional Chinese painting is determined by the traditional national culture and thinking. While in the field of Chinese painting, there has been a consistent exploration of concept of form and spirit, which has also become an important feature of the theoretical research of Chinese painting theory. The form and spirit concept of Chinese painting includes three aspects:traditional Chinese culture, analysis of the objective world, and sublimation of subjective spirit. This view is a combination of painting and ideological level of the times, as well as an expression of lyricism, which is of spiritual aesthetic significance. Artists and theorists of various historical periods also gained much insight into the form and spirit concept of Chinese painting.There are varied views about painting such as GU Kai zhi's "shape spirit by form", SHI Lu's "shape form by spirit", QI Bai shi's "subtleness between like and not like", XIE He's "vivid flavor", SU Shi's "comparing the form of painting to neighbor's children", Zhang Zao "an integration of external presentation and internal appeal", NI Zan's "expressing noble mind" SHI Tao's "similarities in differences", and XU Wei's "vivid flavor over form similarity". These ideas reflect the profoundness of expressing form and spirit in Chinese painting theory and creation, and they have established the principal perception of Chinese painting theory and creation.This thesis is based on Gu Kaizhi's "shape spirit by form" and Shi Lu's "shape form by spirit" The former is the starting point of the form of Chinese painting and the creation process with understanding of objective events and incorporating subjective spirit. The latter confirms the unifying function of "spirit" and stresses the stylized Chinese ink painting. By relegating both views and combining traditional Chinese philosophical ideas, the author studies the function of form and spirit concept on Chinese painting, identifies its proposition, development and change, and reviews the evolution of form and spirit concept in Chinese painting.