The Ideological Origin Of The Formulaic Development Of Chinese Landscape Painting From Tang Dynasty

Chinese painting has experienced thousands of years of development and evolution from the Wei,Jin,Southern and Northern Dynasties to modern and contemporary times,during which it bears too much spirit and connotation.Lang Shaojun re-categorized Chinese painting into "traditional type","pan-traditional type"and "non-traditional type" in his "Consciousness of Chinese Painting-Speech at the First National Painting Academy Biennial Exhibition".[Lang Shaojun,Literature Series on Criticism of Modern Chinese Art Theory][M].Beijing:People's Fine Arts Publishing House,2010.63.]According to this classification,this paper limits the research object to Chinese traditional landscape painting(hereinafter referred to as landscape painting)."Traditionalism:the natural form of Chinese painting,which adheres to the brush and ink method and traditional style,is a highly mature and highly stylized art."[Lang Shaojun.[M][Beijing:People's Fine Arts Publishing House,2010.63.]The stylization of Chinese landscape painting is not inherent,it has undergone the process of gradual generation from scratch.In Chinese painting,the composition of the picture(also known as constitution),the application of lines and the structure of writing brush and ink have its own legal system.As far as Chinese landscape painting is concerned,the painting methods of mountains,water,stones,trees and clouds are all stylized language forms summarized by the teachers and the ancients.In Sui and Tang Dynasty,although landscape painting had just been separated from figure painting,it was only to simulate natural images,and its realism was obvious.By the Five Dynasties,the stylization of landscape painting began to germinate.In order to simulate the texture of rocks,landscape painters consciously created the method of Phi Ma Cun method.But at that time,they mainly simulated objects,which continued to the Song Dynasty.During the Song and Yuan Dynasties,there were two schools of painting:academy style painting and literati style painting.The realism of academy style landscape painting reached a high level of maturity.On the basis of Phi Ma Cun method,painters developed various kinds of Cun methods.In this period,literati paintings focused on brush and ink techniques.They introduced calligraphy into painting.From then on,landscape paintings developed toward the direction of freehand brushwork" and became mature.The stylized characteristics of landscape painting became more and more obvious.Literati painters represented by the Four Schools of the Yuan Dynasty emphasized the expression of subjective spirit and pursued individualized brush and ink effects and the style of their paintings is more prominent.Therefore,their factors of simulating natural objects begin to decrease,and the idea of "freehand brushwork" in the paintings became more prominent.During the Ming and Qing Dynasties,painters advocated the ancients and not limited to the simulation of the natural world.They studied brush and ink techniques,so landscape painting really changed from "realistic" to "freehand".At this time,the brush and ink formula of landscape painting reached its peak.The book Mustard Garden Painting Spectrum summarized the painting techniques of the painters in the past dynasties,such as mountains,stones,trees,water,clouds,dots and so on,and developed the stylized features of landscape painting to the extreme.These painting theories are empirical rules and patterns,which provide valuable wealth for scholars.The formation of the Chinese landscape painting program is a specific historical cultural accumulation.Its ideological origin is the thought of "image" and "meaning"in Chinese philosophy.The theory of "standing image with full intention" in Chinese philosophy is embodied in the theory of literature and art as "expressing ambition",and it was Gu Kaizhi's "combination of form and spirit" at the earliest stage in painting,in which "spirit" is the expression of "meaning" in painters' works.Overview of ancient Chinese painting theory,"intending to write first" has become the criterion followed by later generations of Chinese painting.It is precisely because Chinese traditional thought attaches great importance to the transmission of"meaning" instead of paying attention to the aesthetic concept of superficial appearance.In order to express their mood in the process of painting practice,painters will summarize the objects and images.For landscape paintings,painters will use certain points and lines to make symbolic generalizations of natural objects,which will form the stylized phenomenon of objects.However,the pursuit of "meaning" by ancient Chinese people was not separated from the appearance and existed alone,but the pursuit of "semi-abstract" beauty between "likeness" and "likeness"(Xu Shucheng).Such "semi-abstract beauty" contributed to the development of "freehand brushwork" in landscape painting.Painters will use certain programs to pursue individuality in the process of continuous artistic practice,so as to form their own brush and ink programs.So the program is the "skeleton" that the painter needs to use instead of the fixed painting mode.We should base on the previous formula and make bold attempts,and finally create the art that accords with their own aesthetic interest.