"True" Border In The Northern Song Dynasty Landscape Painting In The Form Of Specific

In the Wei and Jin Dynasties,the writing concept of "true" in Chinese painting has already appeared which is mainly reflected in portraits and flower and bird painting.The landscape painting is still in the embryonic stage,which has not yet formed a specific theoretical requirement.Zong Bing,who was from in the Southern Dynasties,said in "painting mountain water sequence" that the process of we put the image of the landscape through the eyes to the mind was called "reason".So,if the painting is very clever,it will be the same to see and think on the screen for the viewers and painters.It summed up the principle of the painting when you saw things,you needed to remember at the same time,store the image of the natural scenery.He also said that the landscape painting is the process of walking in the landscape,the repeated observation and browsing,and then making the original natural face painted in the painting and draw the original color of the landscape.But it is not simply a trace of nature,instead,it emphasizes to go to the nature,observe,remember,and store.Wang Wei,who was from Southern painting artist,pointed out that the process of creating landscape painting was to take an experience of nature,gain the memory and refine sublimation.So,the painting can contain philosophy and become vivid.The exposition of Zong Bing and Wang Wei is directly influenced the landscape painting "true" formation of the Northern Song Dynasty.During the period of the Five Dynasties and the Song Dynasty,Jing Hao first put forward some opinions on "truth" in his book "The Book of Prof",which mentions that the spiritual essence of the creation of landscape painting is "the truth".Around this point,it also elaborates the theory that judging the appearance of things to get its essence,discovering the beauty of things and creating the realm of beauty.Thus,the landscape painting for the nature of the write "true" concept was formed.Under the influence of ancient traditional philosophical thought and the study of landscape painting of Jing Hao,Guo Xi and others,the Chinese landscape painting began to transform the social and cultural functions into the performance of the individual personality,life and nature interaction in the Song Dynasty,and the painter paid more attention to natural life meaning and the morphological characteristics of natural objects,this change in the Song Dynasty landscape painting andpainting theory was clearly visible.From the handed down landscape painting works in Song Dynasty,it can be found in the performance of ink was more appropriate natural,people paid more attention to the specific presentation of the rocks and trees,such as Guang Tong's "Guan Shan travel map",Li Cheng's "cold forest open country map",Ju Ran's "Qiushan asked map" and so on.When the viewer appreciates the paintings,his sight will follow the scenery and walk in the layers of the mountains,sometimes overlooking the peaks,sometimes traveling in the clouds of clouds.This special way of drawing in Song landscape painting makes the viewer placed in a mobile space,so that he can feel the true beauty and inner spirit of the painting,which is the unique characteristic of the Song Dynasty landscape.The landscape painting of the Song Dynasty not only shows the appearance of the natural landscape but also rich human feelings.It is by the artist's personal thoughts and feelings to dominate the picture,and infuses the feelings into the landscape shape,so that makes ink and natural fit.It both has the objective natural form and it is full of the artist's ideological content.This painting is not only filled with the natural flavor but also full of humanistic atmosphere,which will be infected with the viewers.This paper explores the construction of "true" in the creation of landscape painting by studying the traditional Chinese philosophy and the painting theory of "true" in the Song Dynasty,and studies the creation of "true" environment in the creation of landscape painting.The aesthetic category of "true" and "truth" advocated in the philosophy of pre-Qin and Laozhuang is the same.Therefore,to understand the Song Dynasty landscape painting presented in the "true",we must have to understand the theory of Lao zhuang philosophy.In addition,through the horizontal study of the background of the Song Dynasty painting to explore the landscape painting "truth",we strive to overall view of the Song Dynasty landscape painting essence and ink content,so as to grasp the aesthetic pursuit of the Song Dynasty landscape painting.To study the traditional painting spirit is to provide a clear reference value and value pursuit for our present landscape painting learning and creation painting.One,who does sketch must really observe natural,understand nature,perform nature,and then conveys his aesthetic character and thought by his works.Nowadays,the environment of learning landscape painting is becoming more and more diversified.In theface of the cross and fusion of traditional and modern,oriental and western,folk and college environment,it is necessary for artists to learn to quarantine,to explore the freedom of art and harmony between different styles.Therefore,the Song Dynasty landscape painting presented in the "real pen and ink","true mood","true temperament" is the aesthetic character and ink taste we should pursue and learn in painting learning.