A Comparative Study Of The Aesthetics Of Custom Portrait Paintings In The Late Ming And Edo Periods

By comparing,researching and analyzing the folk figure paintings in the late Ming Dynasty and the Edo Period,this paper examines the artistic vitality of the folk figure paintings,and correctly recognizes the aesthetic value and status of the folk figure paintings full of personality and emotion.Custom figure paintings in the late Ming Dynasty and Edo Period are both representatives of Eastern secular art and important periods for the development of secular society.They learn from each other and form their own aesthetic style in the process of development,so they have certain similarities and differences.The continuous influence of China on Japanese painting art since Tang Dynasty is the basis of the commonness of custom figure paintings in the late Ming and Edo periods.When western paintings were introduced in the 16 th and 19 th centuries,China and Japan made different attitudes to deal with it,which resulted in the difference of custom figure paintings in the late Ming and Edo periods.Although there are studies on this topic at home and abroad,most of them are from the artistic point of view,and the aspects of comparison are mostly concentrated on the folk figure painting of the type of Beauty Picture,while the comparative studies of other aspects are seldom involved.Foreign research is more scattered than domestic research,so it is more necessary to argue from the aesthetic point of view.In terms of form,the folk figure paintings in the late Ming Dynasty focused on the characterization of the five senses,but the characterization of the five senses did not highlight the expression of the subjectivity status of the characters;in the Edo era,the folk figure paintings paid more attention to conveying the subjectivity status of the characters through the body posture.In the description of people's clothing,the late Ming Dynasty custom figure painting is good at line drawing,with line as the main part and color as the auxiliary part;the Edo era custom figure painting is good at using pattern color to describe,with color as the main part and line as the auxiliary part.In content scenes,most of the folk figure paintings in the late Ming Dynasty were painted with scenery,which matched the scenery;in the Edo era,the folk figure paintings mostly depicted the secular life scenes,which had a strong secular flavor.In terms of color,the late Ming custom figure paintings pursue "the color of the mean" and artificially create the harmony of color in order to achieve overall harmony;the Edo era custom figure paintings pay more attention to the natural beauty of color and form the harmony of the picture with natural color.In terms of aesthetic implication,the social fashion of seeking novelty and curiosity in the late Ming Dynasty and the "fantastic" style made by artists because of their dissatisfaction with reality formed the aesthetic implication of "fantasy" in folk figure painting;the aesthetic implication of "floating world" in figure painting was endowed by the development of urbanization and strong flavor of secular life in the Edo era.On the basis of the concept of harmony between man and nature,the late Ming Dynasty custom figure paintings formed the aesthetic implication of "material sense",while the Edo era custom figure paintings formed the aesthetic implication of "material sorrow".In the late Ming Dynasty,the color and aesthetic concepts of the folk figure paintings made the pictures have the temperament and meaning of "ancient and clumsy";in the Edo era,the exquisite pictures of the folk figure paintings have the characteristics of "ingenuity".Behind the different aesthetic features is the social basis of the inheritance and blending of painting skills and secularity between China and Japan.Through comparison,we hope to have some enlightenment on the appreciation and creation of contemporary Chinese and Japanese painting arts.