| Since the Sui and Tang Dynasties,landscape painting has been independent from religious murals.The utilitarian color of landscape painting gradually fades,providing more space for the display of Literati Spirit.The spirit of literati includes the emotion,personality,way of thinking,cultural accomplishment and life experience of the intellectual elite,which to some extent reflects the characteristics of the development of the corresponding era and becomes the main driving force for the creation of landscape painting.Dong Qichang put forward the concept of "literati landscape painting" as the mainstream aesthetic concept of landscape painting since the Ming and Qing Dynasties,in which the theory of "North South Division" has a profound impact on later generations.The theory of southern and Northern sects divides the landscape painting into two schools,which are represented by the literati landscape painting and the green landscape painting,and makes a series of comparison and discussion around them.There are some misunderstandings and limitations in later generations' interpretation of Dong Qichang's "southern and Northern sects theory",that is,one-sided praise of literati landscape painting,and disparage green landscape painting in the opposite position.This kind of aesthetic prejudice leads people to think that green landscape painting,as an artistic form of expression,lacks the expression of Literati Spirit and belongs to the work of craftsmen who are only devoted to the improvement of the technical field.However,if we re-examine the development of green landscape painting,we can see that the expression of literati's spirit runs through it all the time,and with the changes of aesthetic concepts of the times,it reflects a variety of characteristics.This paper chooses Zhao Boju,an outstanding representative of green landscape painting in the turning period of the development of green landscape painting at the turn of Song Dynasty.Through the analysis of Zhao Boju's green landscape painting artistic style,the relationship between the expression of Chinese people's spirit and the change of literati's aesthetic mentality in the future,the connection between the green landscape painting and literati's landscape painting is established,and on this basis to construct the aesthetic dimension of green landscape painting from the perspective of literati landscape painting.The purpose of this paper is to prove that the green landscape painting has the infiltration of Literati Spirit in artistic conception expression,material selection and color modeling.Therefore,the green landscape painting or ink freehand painting is only the difference of artistic expression form,which can not be used as the aesthetic standard to measure the elegant and vulgar style of landscape painting.Looking back to the source of landscape painting,there is actually no green and ink;the distinction between wealth and seclusion,the literati's expression of their feelings through painting is the natural expression of individual subjective feelings;the aesthetic of green landscape painting should eliminate the thinking pattern brought by the mainstream values of later generations,and focus on the cultural connotation,aesthetic interest,aesthetic idea and other aspects of green landscape painting For the current green landscape painting creation and appreciation derived from a different aesthetic perspective. |
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