The Transformation Of The Artistic Style And Imagery Of The Characters In The Song And Yuan Landscape Paintings

The traditional Chinese landscape painting is based on the theory of Laozhuang Taoist,and combines the ideas of Confucianism and Zen Buddhism.It has profound cultural connotation and a long history of Confucianism,which embodies the cosmic spirit pursued by traditional art.It has profound cultural connotation and a long history of context spirit,which embodies the cosmic spirit pursued by traditional art.People and scenery,as key elements in landscape painting,which reflect the beauty of "can play" "can live" and highlight the value of people.It combines with houses,boats,bridges and other landscape objects to participate in the construction of aesthetic images of landscape painting,which embodies that the traditional Chinese landscape painting pursuit the harmony relationship between people and the nature.Social changes and aesthetic interests transfer under different historical conditions inevitably have certain influence on art.From the Song to the Yuan Dynasty,the social environment has undergone tremendous changes.The social status of the literati class has been transferred from the "Chongwen" of the Song Dynasty to the social class of"prostitute eighth,confucian scholar ninth and beggar tenth" of the Yuan Dynasty.It made the Yuan Dynasty landscape painter seclusion in mountain or the royal court,and they melted the indignant feelings into calligraphies and paintings to get spiritual comfort.The traditional landscape of the mountains and the spirit of freehand played unprecedentedly.Since then,the traditional Chinese landscape painting changed from realistic in the Song Dynasty to lyrical freehand in the Yuan Dynasty.In this changing process,the characters in the landscape paintings would inevitably have an evolution in art forms and image expressions.This kind of situation is also the key question which this paper intends to explain and study.This paper is divided into five chapters.The first chapter aims to discuss the landscape painting and its aesthetic connotation.In order to match up the paintings,the characters derived a variety of identity categories,participating into the image of the landscape painting,which formed different painting themes.This not only made the painting substantial and full,to express the creative personality of the main tendency and aesthetic pursuit,was also the subject matter of natural emotional sustenance.The second chapter expounds the artistic style and aesthetic performance of the characters in the Song Dynasty.From the Northern Song Dynasty to the Southern Song Dynasty,the characteristics of the landscape painting changed from vigorous majestic to the poetic.And then its point scene character and the identity also evolved into hermit and confucian scholar from traveler and rural secular from the Northern Song Dynasty to the Southern Song Dynasty.The mood focusing on the description of the objective life turned to the poetic expression.The third chapter discusses the artistic style and aesthetic performance of the characters in the landscape painting of the Yuan Dynasty.The special social background of the Yuan Dynasty led to the prevalence of seclusion in this period,so the landscape figure was also the subject of seclusion most.Artist wrote their resentment and feelings by forests and fountains and sought the interest and return of life to the soul.The fourth chapter discusses the evolution of the image of the characters from the Song Dynasty to the Yuan Dynasty.This stage of landscape painting has changed from the focus on the natural objects to subjective emotional expression.The expression of interest was also evolved from "no self" to express their mind.The fifth chapter expounds the stylized and symbolic tendency of "people in the painting" in the Ming and Qing Dynasties under the influence of the characters in the Song and Yuan Dynasties.On the basis of the analysis of the content of the characters,this paper makes a comparative study of the forms of the characters in different periods,and then tries to summarize the evolution of the aesthetic taste and the expression of the images.