Tang Yin's Painting Of "Hao" Study

It is a prevalent phenomenon in Ming dynasty that the refined scholars to have study pavilion's name or nickname and to build the landscape,Which provide a new opportunity for creation of poems?calligraphy and painting.At the same time,the article of "hao" become a new literature subject,as well as the painting of "hao,"become a unique theme,they were also gained widely recognized among literati.The painting of "hao" based on landscape painting,which usually reflects the literati living in the city or suburb but longing for the hermit life and flaunting themselves with noble morality.The subject reached in its peak in "Wu School",represented by Four Master Painters of the Ming Dynasty,and the authority is Tang Yin and Wen Zheng Ming.The "hao" painting of Tang Yin are abundant in content,and the artistic conception is quiet and secluded,which help portray the orthodox Confucian image of literati.Since Tang Yin absorbed all previous masters' painting technique and establish his own style,his "hao" painting carried various features and ingenious conception.The purpose of this thesis is to trace the source of "hao" panting in the Mid-Ming dynasty,explore the original of the subject matter,differentiate the figures identity types.And research the inheritance and innovation of Tang Yin's "hao" panting from predecessors,so as to clarify the unique position and significance of the theme in the painting of Ming dynasty.This paper mainly discusses the form and content of Tang Yin's "hao" painting:the presentation of visual image and the implied spirit connotation in it.One is about the artistic technique of expression.Another one is the symbolic meaning in this type of painting.Artist select suitable materials to meet the villas' owners spiritual needs.To reveal the elite culture and the reclusion culture contains the painting.