Wang Yuanqi's Study And Practice Of Plain And Innocent And Vigorous Brush And Ink

Presented by the northern song dynasty painter Mi Fei and the yuan dynasty painter zhang yu.my is naive and vigorous mail theory,in the past dynasties,during the transmission of the painter's have been established for the painting art aesthetic standard,also become the painter's south high pursuit of art,as the most accomplished painter of four Kings,grasps is thought of arteries and veins,south wang yuanqi life by his grandfather,wang shih-min nearly dong qichang,far huang gongwang,through learning the song dynasty and yuan dynasty,with its more than ten years of painting practice to inherit and develop the painting thought is naive and vigorous by mail,after its artistic mature and can jump out of huang gongwang and dong qichang testimonies,form their own languages,At the same time,Wang Yuanqi was also of profound attainments in painting theory.His two works were handed down from the world,namely,Diffuse Brush in the Rain Window and Postscript in Lutai Painting,from which came the plain,innocent and vigorous hua-zi theory.This paper is divided into three chapters.The first chapter is the carving of the theoretical origin of plain innocence and vigorous Huazi,from Mi Fu to Huang Gongwang,Dong Qichang and then to Wang Yuanqi,namely the proposal,inheritance and development of theory.The second chapter is an analysis of the characteristics of Wang Yuanqi's insipid and vigorous brush and ink.It is a concrete study of Wang Yuanqi's paintings on the basis of his two theoretical works.The third chapter is on the interpretation of individual paintings,including two sections,the first section is the research of wang yuanqi theory and ink paper summarized on the basis of the qing dynasty,static,heavy,thick artistic point of view,the second section is clear,static,heavy,thick artistic point of view of the practice of painting for individuals,and individuals in painting creation of wang yuanqi in the reference and use of pen and ink.