Inspiration Of "Meaning" And "Image" In "Kuanglu Tu" To Landscape Painting Creation

Since the Wei,Jin and Six Dynasties,the traditional colored landscape painting began to sprout,and the theoretical system of landscape painting began to be gradually established.Painters at that time were used to painting with stone,bluestone and green,and to draw lines and fill colors.The green landscape was only the part of figure painting at that time.In Sui and Tang Dynasties,Chinese landscape painting began to develop.At that time,scholars and writers exchanged ideas with each other.New techniques and ideas began to emerge in the history of Chinese landscape painting.Ink landscape painting began to rise,but a complete theoretical system has not yet been formed.By the end of the Tang Dynasty and the Five Dynasties,social changes had increased,which coincided with the advent of troubled times.However,this was the period when Chinese landscape painting was highly mature and ranked first in the painting circle.Due to the social environment at that time,a large number of landscape painting masters emerged.Among them,Jing Hao,Guan Tong,Li Cheng,Fan Kuan and others were almost several important painters in the history of Chinese landscape painting.Jing Hao is a painter who developed ink and wash landscape painting to its peak in the late Tang and five dynasties.his painting " kuang Lu tu" is a representative work of the early development of Chinese ink and wash landscape painting.it is also a model work of panoramic landscape painting in the history of Chinese landscape painting and still has great influence until now.at the same time,his book " brushwork Ji" is a summary of practical experience in the maturing stage of Chinese ink and wash landscape painting and gives answers to some problems in the creation of Chinese landscape painting by means of question and answer.A new theoretical system was put forward and a new interpretation of natural images was made.The " Writing Style" occupies an important position in the history of Chinese painting and has had an extremely important impact on the development and theoretical research of Chinese landscape painting at that time and in later generations.This article takes Jing Hao's " Kuang Lu Tu" as an example to carry out the research on " meaning" and " image" in the theory of figure truth.Through collecting a large amount of data,usingthe methods of citation,example analysis,etc.,it analyzes Jing Hao's theory and landscape works from the aesthetic angle,deeply analyzes " meaning" and " image" in " Kuang Lu Tu",and leads to the study of " meaning" and " image" aesthetic thought and its enlightenment to landscape painting creation.The first part of the thesis expounds the brief introduction of Jing Hao's life and his artistic achievements in the five dynasties.The second part mainly analyzes the " meaning" and " image" in " Kuanglu Tu" and the origin of the study of " figure truth",and how it is related to the social and cultural background at that time.The third part mainly expounds the relationship between " meaning" and " image" and the influence of " meaning" and " image" on contemporary and our landscape painting creation,thus knowing that Chinese landscape painting is an art with image characteristics," meaning" and " image" always run through the whole process of painting creation,which is the further deepening and enrichment of painters' thoughts and feelings.They have achieved the unique aesthetic height of painting and have great guiding significance for the development and theoretical research of Chinese painting in the later period.