Surpassing The Spatial Consciousness Of Chinese Landscape Painting By Unrealistic Subjects

In the long course of development of Chinese painting,unrealistic themes,as animportant performance theme and form,first appeared in the myths,rituals and paintings from the pre-Qin to the Han Dynasty,blooming brilliant and short-lived brilliance.By the Wei and Jin Dynasties,influenced by the turbulent development of Confucian,Buddhist and Taoist cultures,people gradually weakened the dialogue andconcern about the universe and the God totem.Slowly out of the main themes of painting,became the background of religious stories.Then there is a complete branch of Chinese painting,this unrealistic theme has become a minimal embellishment of the picture vision,from then on,Chinese landscape will be the greatest concern to the objective existence of mountains,rocks,clouds and ink interest.Losing the overall concern for the flood and famine of the universe,the already vast cognitive boundary and spatial pattern suddenly contracted.As a result,the spatial consciousness of Chinese traditional landscape painting pays close attention to the pattern and meteorology,showing a trend of degradation after a high starting point.This has to be regrettable.With the introductionWith the introduction of modern western ideology,Chinese landscape painting has also been affected.In the world art civilization,if traditional Chinese landscape painting wants to continue to take root,it must enlarge its vision and pattern.The author believes that this great pattern and magnanimity still need to look back on the ancient philosophy of two thousand years ago.Laozhuang classics have long had the care and Reflection on the birth of all things and the operation of the universe."The Tao is a thing,but it is a trance.In trance,there are elephants;in trance,there are things;in the trance,there are essence.The spatial consciousness of traditional Chinese landscape painting is based on the pagoda of traditional Chinese philosophical thinking.Its spatial thinking and expression should not be confined to the concrete objective images in reality,but should be the artist,s perception of physical and mental space and his understanding and exploration of the floods and desolations of heaven and earth.Then the object of expression of Zhongshan water painting should not be limited to the objective mountains,rocks and plants in front of us.but should be extended to the universe,the sun,the moon,the stars and even the sky.And with these objects to pursue the painter's own spiritual home,and even beyond time and space and the real world.The silk painting of Xin Chui Tomb in Mawangdui in Han Dynasty is a typical representative,and it should bring inspiration and inspiration to our landscape painting creation at present.Xin Chao's tomb silk painting perfectly integrates realistic and unrealistic themes by means of romantic colors.People,gods,ghosts and beasts,each of them lives in peace,the sun,the moon,the sky and the earth,are brilliant and mysterious.In the planar picture,it tries to create an endless space dimension by leaping dragons and birds,spirits and ghosts flying in the sky,three boundaries interworking and so on.This very exploratory spirit,such as catalyst,urges animators to expand their thinking,broaden their horizons,and create endless changes and possibilities.So although there is no concept of "landscape painting" in Mawangdui silk,the author believes that the laws of art are interlinked.The greatest enlightenment is that aitists should base themselves on these cosmic atmospheric phenomena and let the audience realize the magnificence of the spiritual world and the position of human beings in the universe through exploration,transformation and creation.Returning to thinking about the inner unity of landscape and the universe and the earth in his works is awe-inspiring.Thus,the pattern and meteorology of landscape painting can be broadened.