The Aesthetic Features Of The Image Of Fishing And Woodcutter In The Yuan Dynasty

Throughout the history of traditional Chinese ancient painting aesthetics,as the main representative symbol of the classical literati's invisible visual image,fisherman and woodman has a long history,and historical figures were often used as models to appear in painting and literary works,and last forever.The image of fishing and woodcutter reflects the aesthetic spirit of different eras to a certain extent.From the time of the Yuan Dynasty,the image of fishing and woodcutter was the most mature,and the landscape painting gradually disappeared from the reproducible expression and turned into a freehand expression of borrowing scenery.Due to the characteristics of the multi-ethnic culture integration in the Yuan Dynasty,the Yuan Zaju appear,the image of fishing and woodcutter formed a unique expression of elegance and commonness.In the past,the opposition,contradiction and sorrowful emotions of the individual and the society and the group conveyed by the classical fishery were partially dispelled in the pleasure and venting of the image of fishing and woodcutter in the Yuan Dynasty.In this process,human beings completed a rare handshake between man and nature after a fierce collision between nomadic culture and farming culture.Therefore,image of fishing and woodcutter of the Yuan Dynasty shows a more poetic temperature and home ownership than the previous generation.This paper analyzes the image of fishing and woodcutter in the aesthetics of Chinese classical painting,summarizes the different historical representations of image of fishing and woodcutter in different periods,and further analyzes the influence of Chinese traditional culture on the image of fishing and woodcutter in ancient Chinese landscape paintings,and the expressions of literati retreat in different historicalperiods;this paper collects landscape paintings,Yuan opera and folk art in the Yuan Dynasty,and from the hooks,it has a large number of images,inscriptions,poems and miscellaneous pieces related to seclusion.Combining with the special social background,cultural policies,religious beliefs and folk literati gathering activities of the ethnic integration of the Yuan Dynasty,this paper explores the unique seclusion spirit of the literati painters in the Yuan Dynasty,and then summarizes the Yuan Dynasty.Therefore,this paper summarizes the three aesthetic characteristics of the image of fishing and woodcutter of Yuan Dynasty.The active pleasure of the image of fishing and woodcutter,the concrete analysis of the image of fishing and woodcutter in the paintings of the Yuan Dynasty and the liberation of the literati painters in the pursuit of transcendental spirit is the first time that the image of fishing and woodcutter in the Yuan Dynasty broke the literati's seclusion and solid spirit.It is the aesthetic sublimation of the artistic life of the literati,and it is the literary and artistic work.The harmony of vitality is the conveyance of the value orientation of neutrality.The form of image of fishing and woodcutter is interesting,“ image of fishing and woodcutter ”is a typical reclusive symbol in Chinese landscape painting,and it is also common in the paintings and literary works of the Yuan Dynasty.The paintings of the Yuan Dynasty pay more attention to the conveyance of "Poetic Ink and Drama",and the form expression of the "extraordinary" of the ink,completes the expression of the literati's essays and the pursuit of ink,and the content of the works is to depict the elegant life of the literati.Fully convey a profound philosophical implication and reconstruct a poetic life in art works.The elegance and compatibility of the image of fishing and woodcutter,Due to the special cultural context of the Yuan Dynasty,the image of fishing and woodcutter for the first time formed the unique aesthetic of the combination of elegance and vulgarity.This is the result of the development of Chinese history to the Yuan Dynasty and its particularity.It is also a symbiosis achieved by a few elite artists and thegeneral public's aesthetic value orientation in this special era.The fisherman and woodman's figure in the Yuan Zaju,arts and crafts,and folk religious art is an important basis for studying the aesthetic characteristics of the fisherman's elegance and commonness.This paper studies the aesthetic characteristics of the image of fishing and woodcutter in the Yuan Dynasty.At first,starting from the special historical background of the integration of nomadic culture and farming culture in Yuan Dynasty,this paper tries to analyze the deep aesthetic characteristics of the image of fishing and woodcutter in the Yuan Dynasty.And then,from the perspective of Chinese art history,Chinese classical aesthetics and painting art,this paper explores the causes of the aesthetic characteristics of image of fishing and woodcutter in the Yuan Dynasty and more accurately defines the aesthetic characteristics of the image of the image of fishing and woodcutter.In turn,it breaks the previous stylized cognition of image of fishing and woodcutter and rejects the idea of analyzing and researching from a single art or literary perspective.This can restore the original image of fishing and woodcutter in the Yuan Dynasty with a more objective and accurate research attitude.In the end,through the summarization of the aesthetic characteristics of the image of fishing and woodcutter in the Yuan Dynasty,sort out the influence of the image of fishing and woodcutter in the Yuan Dynasty on the artistic creation of the Ming and Qing Dynasties,and analyze the reasons for the final disintegration of the image of fishing and woodcutter.