Research On Wang Fu’s Art Painting

Wang Fu was a famous painter in the early Ming Dynasty.He had deep attainments in poetry,literature,calligraphy and painting.His character and painting concept were generally recognized,especially his landscape painting and ink bamboo painting,which not only imitated the ancients,but also found another way,which had a far-reaching impact on later painters.Wang Fu’s life is a life of art.He used his aesthetic understanding of life to guide artistic creation,leaving a large number of calligraphy,painting and poetry with classical aesthetic connotation.In his creation,Wang Fu incorporated poetry into painting and calligraphy into painting,realizing the integration of poetry,calligraphy and painting.Combined with Wang Fu’s life experience,this paper analyzes Wang Fu’s painting art and aesthetic thought based on Wang Fu’s existing paintings and poems.The first part of this paper introduces Wang Fu’s life experience and his works on the basis of extensive collection and study of relevant historical materials and original codes.Through the changes of the three stages of his life experience,he excavates the contradiction between being an official and living in seclusion,and further defines the impact of this contradiction on his artistic creation.In addition,an overview of Wang Fu’s life,his different understanding of painting in different periods,can see the influence of predecessors and contemporary friends on him.The second part mainly explores the personality aesthetic characteristics of Wang Fu’s paintings.Combined with his life experience,painting and poetry,and through the theory of "poetry and painting intertextuality",this chapter analyzes Wang Fu’s personality aesthetic characteristics such as modesty,integrity,detachment,leisure and seclusion in painting.Wang Fu preferred bamboo and stone themes.He often described himself as a gentleman with "bamboo and stone" character.He not only created a large number of paintings with bamboo as the theme,but also took bamboo,stone,pine and other images as the poetry title in each of his five volumes of poetry.In the creation of ink bamboo pictures,he took the spirit similarity as the concept,not bound by the object shape,pursued the realm of the image outside the image,and showed his yearning for the free and unrestrained mental state.In the creation of landscape paintings,Wang Fu often uses seclusion symbols such as fisherman,boat,high scholar and sage to express his heart of Linquan and his longing for seclusion life.Wang Fu’s painting creation is not only to meet the purpose of cleaning his heart,but also to find his "true self" and return his spirit to his hometown.The third part mainly explores and analyzes Wang Fu’s painting creation and aesthetic ideal.In terms of painting creation,Wang Fu not only learned from the ancients,but also developed and innovated.His literati assembly painting changed from the previous focus on the artistic expression centered on characters to the integration of characters and the environment,such as the painting of listening to Guqin in zhaisu and the painting of mountain Pavilion assembly,showing a natural and harmonious style and great literati interest.His painting of farewell to Fengcheng is the first work in the history of art that combines the theme of assembly and farewell.During the Yongle period,Wang Fu,as the representative of the Chinese painter in the Imperial Palace,had close contact with the literary officials in the Imperial Palace,and often made friends with the court painter calligraphy and painting.The painting of bamboo and crane Shuangqing painted by him and the court painter Bian Jingzhao promoted the integration of the styles of the court and Zhejiang School.Wang Fu painted bamboo with the creative skills of calligraphy,and the style of "Xiao scattered and comfortable" also influenced the school of academy style.In addition,he also created and established a new pattern of long scroll of ink bamboo in his later years.Finally,Wang Fu has both the beauty of poetry and painting,and has "uniformity" in the thought and realm of poetry and painting creation.The two interact and cause and effect each other.Through the interpretation of the intertextuality of poetry and painting,we can not only see the artistic conception of Wang Fu’s pursuit of simplicity,distance and elegance in his paintings,but also feel his understanding of the nature of heaven and earth through landscape,bamboo and stone.The fourth part mainly explores Wang Fu’s Eight Sights of Beijing and the political implications behind it.Combined with Wang Fu’s life mentality,starting from the relationship between Wang Fu’s Eight Sights of Beijing poetry and Wang Fu’s Eight Sights of Beijing,the theme of "Eight Sights" traces its origin and the public opinion construction function of the Eight Sights of Beijing,further clarify its political direction,analyze its political utility and the cultural conception embodied in the imperial mind,so as to realize the interweaving and influence between art and politics in the social system.