An Inquiry Into The Artistic Semiotics Of Ni Zan's Landscape

Ni zan,the chief of the four yuan schools,has always been pursued by painters and theorists.Ni zan's lofty and proud personality and transcendent charm are the reasons why he can stand on the top of the painting circles in the past dynasties.Ni zan's unique and superb painting ideas and painting techniques left behind a valuable treasure.Through the search and collation of the author's literature,it is found that few studies have been made on the style of ni zan's paintings using the theory of artistic semiotics.However,in her narration,Susan long has already connected art semiotics with Chinese art,discussed the similarities between her aesthetic thoughts and Chinese aesthetic thoughts,and some scholars have made a brief overview of the connection between art semiotics and Chinese painting.This paper explores the style of ni zan landscape painting with Susan langge's theory of artistic semiotics as the center.The theory of artistic semiotics can be used to rationally analyze the symbolic connotation of ni zan's landscape painting style.Ni zan's style of painting did not come out of thin air.The formation of his style of landscape painting is closely related to the cultural environment and geographical environment of the yuan dynasty.For the introduction part.Chapter two analyzes the cause of semiotics of ni zan's landscape painting style through the objective characteristics of The Times and the subjective emotive signs.Ni zan thought that his life should be free and unfettered,but because of the national discrimination policy adopted by the yuan government rulers,his ideal fell to the ground.Ni zan passed through three important periods of his life and gradually formed the characteristics of being independent and proud.Ni zan threw himself into the mountain spring xiulin to express his bitter feelings.The profound historical culture and superior geographical environment of wuxi also prompted ni zan to form a style of painting with the elegance of jiangnan.The third chapter analyzes the semiotics of nizan's landscape painting style,trying to explain the similarities between nizan's landscape painting and Susan langer's theory of artistic semiotics.A comprehensive view of ni zan's paintings reveals a fixed law.Each piece of work is decorated with a mountain stone,a tree and a grass pavilion.The form of composition of ni zan is a kind of logic form with universal human emotion.Ni zan condense his affection into the symbol of brush and ink,and then enddue the life form with rhythm and movement to the paper through the movement of the wrist and the change of the heart.The "unreal space" in chan's works is mainly embodied by the integration of the "void" in the content and the "empty" in the form.Every artistic symbol in a painting is a component of the illusory space,and these artistic symbols with special emotions express pleasant and lofty feelings through the combination of organic whole.Chapter four: the influence of nizan's landscape painting style on the semiotics is mainly the influence of dong qichang of Ming dynasty and hong ren of qing dynasty on the form of composition and the sign of brush and ink.The semiotics inspiration of ni zan landscape painting is mainly expounded from two aspects: paying attention to the form of composition and the symbol of brush and ink,and paying attention to the organic integrity of illusory space.