Harmony In Diversity

In the painting,the appearance of the work of the cooperative painting is not a few,the production of these works is not groundless,and the back has a different meaning from the common painting.Since the Northern Song Dynasty,Li Cheng,Wang Xiao's painting,the painting of the stone of the monument,the cooperative painting gradually appeared in the eyes of the viewer,and the cooperation was varied and became an integral part of the Chinese painting.The wonderful completion of each cooperative painting is the most important work of the artists,and it is combined with the skill of the painting and the skill of the painting.The first ink-dropping person decided the overall intention layout and emotional tone of the picture,leaving room for others in a chic manner,and continuing to make up paintings volatilized each other's superb wisdom,bowed to each other and unified the overall atmosphere of the picture,one painting at a time,one stone and one bird.A flower and a grass should not contradict the tone of the layout of the whole painting,on the other hand,also need to be harmonious but different,between advance and decline with the momentum,new ideas,show the painter's unique painting style.In the end,the author,at the end of the screen,at the end of the screen,at the end of the screen,at the end of the image,made a clear picture,and made a wonderful picture.It shows both its own heart and the original intention of others.The difference between the cooperative painting and the common painting lies in the aesthetic consensus that the work has a "To disobey and to be different from one another."-like gentleman-like state of mind and the mind.This paper discusses the aesthetic consensus of ancient literati under the cooperative painting through four chapters: the first chapter is the mutual understanding of ancient literati between the gentlemen;the cooperative spirit of ancient literati in the piano and flute ensemble;the aesthetic consensus of the cultural spirit of the members of the society;from this point of view,the ways of making friends among ancient literati between the gentlemen are understood.Chapter two is an overview of ancient and modern cooperative painting.Take Li Cheng and Wang Xiao as examples of ancient cooperative paintings in the Northern Song Dynasty,and in modern times,the cooperative paintings of the Beijing-Tianjin School of painting,the Society of Cold Friends,and the four Old people of Ling nan for example,to understand the interest of painters in making friends when they cooperate.The expression of pen and ink and the composition of the picture are helpful for us to understand how different individuals cooperate with each other to reach an aesthetic consensus.The third chapter is the spirit of cooperative painting-the norm of cooperative painting.The spirit of cooperative painting is mainly reflected in the grace of cooperative painting,the degree of progress and retreat;the beauty of each other,complement each other;you have me,I have you;These invisible norms are also the connotations of cooperative painting,which make people in different times or different spaces but have the same intrinsic essence and spiritual connotation.To reach an aesthetic consensus in the cooperation center;The fourth chapter is the conclusion.Summarize and sum up the special significance of cooperative painting in Chinese painting,so that the value and role of cooperative painting in the eyes of the public,play its due value.Through the analysis and study of the four aspects,this thesis can find and understand the way and diversity of the painting creation,and can also feel the aesthetic agreement between the emotion value and the spiritual connotation hidden in the inner of the painter.