The Language And Artistic Conception Of "emptiness" In Jianjiang's Painting Style

Artistic creation is the carrier that can best convey individual painting language and emotion,and the expression of emotion in artistic creation is a complex and important issue that can relate to the essence of art.Due to the differences in specific living environment,artistic attainments and the degree of artistic knowledge cultivation,each artist has formed a very personal artistic style."Empty" expression is a unique personal artistic language formed on the basis of various carriers.Jianjiang,as a representative painter in the "empty" style,highly integrates the picture language with the picture artistic conception and spiritual realm.This paper,based on the historical background and conditions of various periods,tries to summarize the unique artistic language of jianjiang in the late Ming and early qing dynasties--the cause of the language and artistic conception of "kong" and the cause of the development of his style,and then divides it into four parts.First of all,the second chapter mainly introduces and expounds the formation and influence of the "empty" expression under the specific background of The Times,and then a group of "empty" expression painters represented by jianjiang emerge.Secondly,the third chapter explores and analyzes the artistic language change of "empty" expression under such influence,and expounds from the technical aspects of opening and closing,composition,starting,form and blank,etc.,looking at the contrast between traditional and simplified works from the spatial processing relationship in jianjiang's works.Then in the fourth chapter,it mainly refines jianjiang's definition of "empty" style,the continuation of rules and regulations,the inheritance of brush and ink,the relationship between teachers and the influence of zen thought on his painting style.Finally,in the fifth chapter,through the analysis of jianjiang's perception of the spiritual realm in painting,the reflection on the current era and the improvement of the aesthetic and spiritual level in contemporary painting are generated.At the same time,it also provides reference materials for the later researchers of the late Ming and early qing dynasties and similar landscape painting styles.During the Ming and qing dynasties,Chinese painting was an era of innovation and retro.From the perspective of the artistic development of the Ming and qing dynasties,gong xian and the "four monks" and other painters who were determined to reform and bring forth the new promoted the development of the history of Chinese painting at that time.Of which jiang,as one of the four monk painter in qing dynasty,with its unique excellent painting stands Yu Qingchu painting,shicheng NiZan is different,and hydrophobic JianSheng,brushwork composed finished,shu lang quiet,painting style message wen ya,its style is thin thin hard,Jane meanings,elegant but cold and detached to the person,the feeling of serene better claim.It is precisely because of this unique style of art for the promotion of the history of art to provide a unique uniqueness and creativity.The landscape paintings of the Ming and qing dynasties have gradually formed a new artistic trend under the background of more than one hundred years of archaism.