Language Decoding Of Sheng Mao's Painting

Sheng Mao,an artist of Yuan Dynasty,whose style name is Zizhao,coming from Jiaxing,Zhejiang province.His father is Sheng Hong.He studied the painting style of Chen Lin and Zhao Mengfu.Because of his origin of artisan-painter,the descendants did not record much about him.In the Yuan Dynasty,when the literati painting was in a period of great prosperity,Sheng Mao developed a school of his own.His works The Painting of Waiting to Cross the Qiujiang River,The Painting of River,Maples and Boat in Autumn and The Painting of Seclusion in Forest and River in Autumn represent the overall characteristics of his painting style: using meticulous painting techniques to create literati paintings,combining the fine brushwork and the freehand brushwork,arranging the trend of mountains with “S” type trajectory in the composition,and interposing the traditional perspective of three far-sighted perspectives in the breaks of different depths of vision,to create the overall characteristics of his painting style.It's just like the mood of changing scenery in Chinese classical gardens.The Painting of Mountain-Living and Coolness-Enjoying is one of Sheng Mao's most representative paintings.Through the analysis of its composition,theme selection and layout(pure picture without title and postscript,fishing boat moored at lower left,door in painting,pavilion,roof,scene characters in painting),and the form of brush and ink(the emotion in brush and ink,the color of small dark green)which collects the strong points of great maters,the thesis tries to rethink the traditional views of painters in Ming Dynasty,especially Dong Qichang,on paintings in Yuan Dynasty,comprehensively analyses from multi-dimensional perspective,and evaluates Sheng Mao's landscape paintings objectively and impartially.Sheng Mao standed in the era of the popularity of literati painting,he still adhered to his original painting style,and constantly absorbed the strengths of other schools for his own use,so that his unique painting style combining imperial-court decorative painting and literati painting was unique in the Yuan Dynasty,which not only affected the “Zhejiang School” of the Ming Dynasty,but also had had far-reaching significance for the formation of modern landscape painting style.The purpose of studying history is to reflect on the current situation,especially to re-examine the value and significance of traditional Chinese painting from the aspects ofaesthetic appreciation and creative reference.The interpretation and abolishing defects of Sheng Mao's painting language form is to seek the basis for the appreciation of Chinese painting from the form details,and to excavate a deeper source of formal style for the creation of Chinese painting.Sheng Mao's “S” type composition method in The Painting of Mountain-Living and Coolness-Enjoying enhances the author's ability of composition.The relationship between the virtual and the real in the painting deepens the author's understanding of the philosophical thought in landscape painting.The portrayal of rocks,trees,houses and scenery characters enhances the author's ability to depict details.“The emotion in brush and ink” enables the author to understand the unique compatible painting style of Sheng Mao's imperial-court decorative painting and literati painting.The thesis focuses on collecting and sorting out the documents of Yuan Dynasty related to Sheng Mao,especially the documents about the imperial-court decorative painting and literati painting.It uses the method of comparative analysis,classification,induction and summary,etc.to expand discussion.