Research On The Aesthetic Implication Of Jianjiang’s Painting

Jianjiang,an outstanding landscape artist in the late Ming and early Qing dynasty,who was also the pioneer and main character of Xin’an painting school.Integrated with the roles of adherent of previous dynasty and buddhist as well as a painter,Jianjiang’s whole artistic life still contained high aesthetic values of his time even in today’s painting circle.It was not only influenced by the natural environment and economic condition as well as the politic change at that time in Huizhou region,but even also the sedimentary firuit of his own great learning and knowledge.This paper is mainly divided into five parts,which is beginning from Jianjiang’s lifetime and experience,according to his ages and turning points in his years to introduce the main time background and life situation as well as the cultural background of him.The second part analyzes the aesthetic taceability of Jianjiang’s painting.The aesthetic connotation of Jianjiang’s painting was based on Chinese traditional philosophy idea of Confucianism and Taoism as well as Zen.First of all,Jianjiang’s basic stone of his aesthetic was inherited the ancient painter’s technique legacy orderly especially inherited the insipid and humble style from Nizan and HuangGongwang as well as south painting in Song and Yuan dynasty;secondly,it is featured that he regarded nature as his teacher to create his painter,and he started the trend to paint from nature in Yellow Mountain.When he painted the graceful temperament of Yellow Mountain,he showed his unique realization to Yellow Mountain’s spirit-resonance at the same time;At last,Jianjiang used the traditional image as samples to integrate the life form of woods and stone with cabin and plum blossom into personal life experience to attain the liberation of soul and gain the Taoism of spirit under the Chinese traditional philosophy idea,which integrated cosmic life with personal life.The third part analyzes the aesthetic implication of Jianjiang’s painting from three aspects on the works’ language of painting lines,images,and the integrity of the poetic realm and image mood.The straight and firm lines,the image combination of landscape and plum blossoms,spatial awarenes’s filling with volume,were the most thoroughly quality of the elegant beauty of the Yellow Mountain which Jianjiang painted and expressed.Based on his learning at young age,the buddhist Jianjiang expressed his image mood integrated with poetic realm and Zen state,which had an unique artistic appeal.His poems gathered called painting verse on paintings reflected the artistic character with high level poetic realm and image mood as well as Zen state,was fulled of deep and high state.The fourth part is the comparison between Jianjiang’s full satiation style and Nizan’s desolate cold style.They had certain mentor-disciple relationship somehow in similar while different style,it is called the comparison of full satiation style and Nizan’s desolate cold style in this paper.Nizan was also an adherent as well as a painter,and the style with no person in his painting was abandoned by Jianjiang.The combination of heaven,earth and man in Jianjiang’s painting was sketched by every one natural wooden bridge and man or every hill and stream.It seemed to be world’s life with Zen state,and it’s scenes blending artistic character was more full and simple than desolate cold style.This part can be regarded as the salient point in this article.The last part reviews the above-mentioned Jianjiang’s outstanding and decent painting,interpreting the inheritance and promotion of Jianjiang’s painting.Jianjiang’s own paining must be the inheritance of Chinese traditional literati paintings’ Tao and artistic spirit,and then merged the understanding to the world and nature of himself,which coming into being the mist and fog,poetry of hill and stream.He inspired the later generation Zhenmin’s painting style and influenced Huangbinhong as well as the Yangzhou painting school on national integrity and artistic spirit as well as artists in modern Anhui painting school at many aspects such as spiritual cultivation and character cultivation,which was full of educational aesthetic meaning.Above all,it is easy to know that Jianjiang was brilliant both in his art and in his mind.The integration of natural life with art life,giving him wonderful and unique artistic temperament.It is not more than to be underestimated for the good of cultivation to modern landscape painting creative work.It’s artistic spirit is worth well-aligned inherited generation by generation.In a word,Jianjiang’s unique charming personality,leaving endlessrecall and memory to later generations;Jianjiang’s aesthetic purport,leaving us infinite appreciation space.