A Study Of Hermit Landscape Paintings In The Early And Mid-Ming Dynasty

Seclusion is the eternal complex and immortal spiritual theme of Chinese literati.Landscape painting is a special product of seclusion culture,which has a subtle influence on the development of Chinese landscape painting.When the literati are dissatisfied with the social reality and secluded in the natural mountains and forests,to pursue the inner peace,they will face the feelings and understandings of the mountains and rivers and springs in the form of traditional landscape painting,so there will be seclusive landscape painting with seclusion complex.This paper takes the hermit landscape painting in the early and middle Ming Dynasty as the research object,deeply analyzes the implied painter's emotional language after the hermit landscape schema,explores the painter's emotional expression of his hermit mountain forest,and the choice between his coming out of the world and entering the world.The first chapter of the paper expounds the concept of hermit and hermit,and explains thedevelopment origin of hermit culture and the relationship between hermit culture and landscape painting.The second chapter analyzes the human environment of the reclusive landscape painting in the early and middle Ming Dynasty.According to the different reclusive performance in the early and middle Ming Dynasty,it can be summarized as "Daoyin" in the early Ming Dynasty and"Shiyin" in the middle Ming Dynasty.In the third chapter,based on the background and life experience of hermit painters in the early and middle Ming Dynasty,the author studies the expression methods of hermit landscape painting in the early and middle Ming Dynasty.According to the reclusive landscape painting works in the early and middle Ming Dynasty,this paper sums up the painting methods of boundless and simple.In composition,it mainly refers to the far-reaching and far-reaching composition layout,as well as the reference to the "three section" composition of Ni Zan in Yuan Dynasty.The fourth chapter mainly studies the creation features of seclusion landscape painting in the early and middle Ming Dynasty,including the seclusion mood of "the meaning of Ying Kong Ji" and the seclusion spirit of "sending seclusion thoughts".In the aspect of creating environment,the seclusion landscape paintings in the early and middle Ming Dynasty mostly created a cold and bleak,quiet,far and empty environment.In the spirit of seclusion,the point scenery images that embody the spirit of seclusion in the early and middle Ming Dynasty are summarized as:Fishing seclusion,boating,sages,high scholars,paradise of Taoyuan.In the early and middle Ming Dynasty,Du Qiong,Shen Zhou,Wen Zhengming and other reclusive painters influenced a large number of literati painters,and led the Wumen School of painting to become an important school of literati in the Ming Dynasty.In the early and middle period of Ming Dynasty,the seclusion landscape painting had a certain influence on many painters,such as Jian Jiang,and had an important value and significance for the creation of modern landscape painting.