Study On Aesthetics And Connotation Of Green Landscapes In Tang Dynasty

Green landscape is a kind of classical painting art peculiar to China.It with azurite,stone green of the two kinds of mineral grinding paint color,picture finally present a beautiful,rich full-bodied colour effect,is one of the first painting form in our country.Landscape is one of its main performance themes,so it is easy to see the magnificent natural mountains and the ancient China's urban and rural landscape.As the first popular painting style,green landscape painting has not kept in a thriving situation in the long river of history,how many degrees it several times prosperity and decline,in the handing down and left a few bright is a classic works.This paper aims to study the development of early green landscape painting in tang dynasty.Starting from the life of the painter and his works,combining with all aspects of social development at that time,the author hopes to explore the painting altar at that time.This paper finds out the unique aesthetic value and connotation of the green landscape painting in tang dynasty,and analyzes the reasons for the decline after its prosperity.The first chapter of this paper is divided into two parts.The first section states the social development and the status quo of the painting circle in tang dynasty.The great development of politics,economy and culture laid the foundation for the development of green landscape painting.In the second quarter for the second part to the fourth quarter,enjoys a high position in the development history of the research on green landscape painting ZhanZiQian landscape painting art,the green landscape in the tang dynasty general carry forward the LiSixun and LiZhaodao's landscape painting art.The second chapter studies the art of green landscape painting from two aspects:external aesthetics and connotation.From the origin of color to the internal relation with philosophy,it is discussed in many aspects.The third chapter discusses the causes of object decline.The first section is based on the analysis of the general situation of the decline of the state,the second is the objective influence of the rise of the ink landscape,and finally the environment and choice of the painter himself as the painter.