The Application Of Negative Space Technique In Traditional Chinese Paintings

Traditional Chinese painting enjoys a long history and has accumulated a profound source of cultural treasures,and it has occupied a distinct position in the world’s gallery of fine arts,with a rich language of expression and consummate creative techniques.There are two considerations that makes me to choose the “empty space”technique as the research topic of this thesis.On the one hand,as a graduate student of contemporary ink landscape,the author often needs to leave blank as an organic part of the picture in creation and copying.On the other hand,leaving blank is of great significance in the evolution of Chinese painting.Whether it is the embodiment of traditional Confucian and Taoist philosophy,or its far-reaching artistic conception of the picture,leaving blank is an unavoidable key topic in the study of Chinese painting;it has a far-reaching impact on the form,composition and ink of Chinese painting,and seems to be a very attractive representative symbol in Chinese painting.Therefore,I believe that the empty space technique is a worthwhile theme for further research.This thesis first makes a historical review of the development of the empty space technique,and then extends to literature on the brushwork,composition and artistic conception of the creative deployment of empty space,and finally delivers an in-depth exploration of the creation form,layout and functions of traditional Chinese paintings.Via the formal language of empty space and a combination with the spirit of traditional Chinese cultures,this thesis analyzes the origins and effects of the empty space technique in traditional Chinese paintings,explore its influence on current creations of Chinese paintings and its possible developments in future,so as to provide theoretical guidance and practical basis for future artistic creations.The examples and related analyses of empty space techniques in this thesis is mainly based on the case study of Qi Baishi’s works.It is hoped that the creation rules of the empty space can be glimpsed from such previous works,that the relationship between the artistic spirits and the content-form binary behind traditional Chinese painting can be comprehended,,and that the artistic realm of empty space can be revealed.And I would also extend the findings to my at-hand artistic creations.In other words,it can finally help realize the integration of theory with practice,help with the creation of more profound and positive practical significance,and serve as a guidance for current as well as future creation.