Study On The Aesthetic Connotation Of Landscape Painting Theory In Wei,Jin,Southern And Northern Dynasties

This paper takes the painting theory of Wei,Jin,Southern and Northern Dynasties as the research object,and talks about the development status of aesthetic consciousness and individual subject spirit with great freedom.The main breakthrough point is from advocating "nature" to independent landscape painting.Taking Gu Kaizhi and Zong Bing's painting theory as the research text,this paper analyses the text theory and the metaphysics thought,studies the political and ideological background of this period and the causes of the aesthetic thought of painting theory,fully combines the natural view of mountains and rivers advocated in the Six Dynasties,and probes deeply into the aesthetic spirit and its aesthetic connotation in the theory of landscape painting.The text consists of four parts.The first part describes the social background and the metaphysical thought in the Wei,Jin,Southern and Northern Dynasties.The current situation of literature development under the dual influence of the two is discussed.The reasons for the emergence of landscape aesthetic consciousness and landscape painting theory are discussed in the light of "natural" aesthetics.The second part is the beginning of the theory of landscape painting from Gu Kaizhi's outlook on form and spirit in the Eastern Jin Dynasty to Pictures of Yuntai Mountains and Preface of Painting Landscapes.Through the Six Dynasties' painting theory,people pay more attention to the "likeness of form" while gradually changing the emphasis on "likeness of god",and take "nature" as the aesthetic purpose,to explore comprehensively the aesthetic perception of "Mei Dao" and "Chang Shen" from the nature of all things.As the highest aesthetic ideal,it laid a theoretical foundation for the history of Chinese landscape painting theory.Zong Bing also clearly pointed out that through the realization of spiritual sublimation to achieve the purpose of free travel,with the aesthetic purpose of "Chenghuai Guandao" and "Happy Life",through the description and appreciation of the nature of heaven and earth to express the spiritual pursuit.From the perspective of understanding Laozhuang's uncontroversial thought,this paper probes deeply into the relevant documents and records of Wei,Jin,Southern and Northern Dynasties,explores and analyses the aesthetic creation of landscape art fromthe aesthetic perspective of painting and literature,and analyses the text from the aesthetic connotations of "shape","spirit","tendency","bone","heart","nature" and so on.The development process of such aesthetic propositions is discussed.The third part is a comprehensive analysis of Sheikh's and Yao's works on painting criticism,and puts forward six principles of painting aesthetic standards,which emphasizes the creative form and artistic expression characteristics.Combining with the fourth part,from the perspective of the development of painting history,the aesthetic relationship between pen and ink and "spirit" and "rhyme" has changed in the development of painting art in later generations,from emphasizing "spirit" to emphasizing "charm".Therefore,the landscape aesthetics of Wei,Jin,Southern and Northern Dynasties is also of far-reaching significance to the development of the aesthetic concept of green landscape and ink landscape in later generations.Therefore,this paper focuses on the Wei,Jin,Southern and Northern Dynasties period of painting aesthetic art concepts,as well as the connotation of aesthetic ideas and artistic manifestations,combined with the development of landscape painting theory of later generations put forward a valuable summary.