On The Independent Trend Of DryInk's Landscape Painting

In order to explore the independence of DryInk landscape painting from the perspective of painting theory,we must build on the premise of combing the history of ancient landscape painting.If there is no such premise,we can not understand the development and change of DryInk in the evolution of ancient landscape painting,let alone the factors that cause the development and change of DryInk itself.Therefore,the attempt to comb the independent internal causes of DryInk landscape painting should be based on the combing of historical data.When combing the existing ways of DayInk in ancient landscape painting,some works that are created with DryInk and of great significance become the starting point of our research on the era of the works,the starting point of cutting into the painting theory of this era,and the development node of DryInk in its independent process.In the historical development process of DryInk,fan Kuan of the Northern Song Dynasty created the "snow view and cold forest map" and "Snow Mountain and depressed Temple map" under the thought of "writing the true bones of the mountain,communicating the spirit with the mountain",which became an important entry point to explore the development and change of DryInk in the Song Dynasty.In the Yuan Dynasty,Wang Meng's use of DryInk in his works,such as the picture of "Ge Zhichuan's migration",the picture of "Qing Bian's seclusion",the picture of "A cottage in the hills in autumn",and the picture of "reading in spring mountain",as well as the creation concepts of literati painting,such as "not seeking form and charm","painting and calligraphy using the same method",became an important basis for exploring the development and evolution of DryInk in this period.Up to the Ming Dynasty,Wen Zhengming,a school of Wumen painting,created the painting of "climbing the Junshan mountain",which can be regarded as a kind of DryInk landscape painting.From the end of Ming Dynasty to the beginning of Qing Dynasty,the special "culture of adherents" formed at the time of geding,and the emergence of Cheng Sui,Dai benxiao and other people with special characters finally made the pure DryInk landscape painting appear in this period.In addition to the history of DryInk's painting and the theoretical analysis of the evolution of DryInk,the author also makes a theoretical statement on the definition ofDryInk,the aesthetic characteristics of DryInk and the dry and wet system of landscape painting.These contents are also necessary to analyze the independent trend of DryInk landscape painting.