| The Wei,Jin,Southern and Northern dynasties was a period of spiritual and ideological liberation in our country.In addition to the gradual decline of Confucianism,which represents the interests of the ruling class,Lao Zhuang,Buddha and metaphysics have all been developed to varying degrees.In this period,the famous people pay attention to the liberation of personality and pursue the freedom of spirit,so as to realize the ideal spiritual realm desired by the individual and assimilation with heaven and earth.Under such a social and historical background,Zong Bing's theoretical work "painting Landscape preface" expounds that the human experience of the essence of life in the universe is "Tao" in the form of landscape painting,so as to realize his pursuit of the ideal spiritual realm,so that the spiritual requirements and creative methods are put forward.A series of views,such as "clear taste image","beautiful way with shape","writing form in shape,color and appearance","Changshen" and other important points of view are put forward,such as "clear taste image","beautiful way with shape","writing form withshape","Changshen" and so on.These viewpoints involve a series of problems such as the Noumenon,creation and appreciation of landscape painting aesthetics,and constitute a relatively complete aesthetic system.The aesthetic characteristics and tastes of landscape painting extracted by it are of epoch-making significance in the history of Chinese landscape painting aesthetics.Among them,the idea of "beauty in landscape" is put forward,the first of which points out that natural beauty has independent aesthetic value,and can show the unnamed "Tao" and realize the observation of "Tao".Then Zong Bing believes that landscape painting It is used to reflect the way of saints,and the image of landscape painting can understand the way of nothingness.Therefore,every pen and ink in landscape painting contains the law of "Tao",and the picture it constitutes is the externalized form of the understanding of "Tao" by the painting subject,which has strong individualized characteristics.Therefore,later literati painters took painting as a kind of body,taste behavior,formed a variety of landscape painting features,and then promoted the prosperity and development of landscape painting.Zong Bing's thought of "beauty and beauty in landscape" is of great guiding significance for the development of landscape painting.Because of its special social and historical situation,landscape painting has been unprecedented development in Yuan Dynasty.The landscape painting is different from that of the previous Dynasty,especially represented by the four schools of Yuan Dynasty,and the thought of "flattering the way with shape" is also more thorough.The analysis of landscape painting at this time is helpful to enhance the understanding and thinking of its philosophical meaning and the promotion of methodological research.This paper is divided into four parts.The first part analyzes Zong Bing's people,life background and its ideological origin,so as to explain that the development of landscape painting can not be separated from the ideological philosophy of "Taoism",especially Lao Zhuang's Tao,which is dominated by Confucianism,Buddhism and Taoism.The second part focuses on the interpretation of the ideological connotation of landscape "in shape and beauty".The third part analyzes the appearance of "Tao" in Yuan Dynasty landscape painting and its concrete embodiment in Yuan four landscape paintings.The fourth part discusses the speculative and philosophical meaning of landscape painting,and expounds the artistic spirit and cultural value of Chinese landscape painting. |
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