Research On "Blank Space" In The Composition Of Landscape Painting In Southern Song Dynasty ——Take Ma Yuan And Xia Gui’s "Corner Landscape" As An Example

In the layout of Chinese painting and calligraphy,we always pay attention to the expression of "blank space",such as "counting white as black","cloth white" and so on in theory.Therefore,"blank space",as an important expression of landscape painting,has been widely used,and tends to mature with the improvement of landscape painting itself.The expression technique of "blank space" is closely related to composition,pen and ink techniques,artistic conception and expression of charm,etc.Its aesthetic connotation bears the flowing of Chinese culture.With the development of landscape painting after the Southern Song Dynasty,the "blank space" in the "corner" composition of courtyard landscape painters Ma Yuan and Xia Gui is even more impressive.The vast emptiness in their paintings is integrated with the local regional features,aesthetic psychology of the times,landscape poetry,philosophical aesthetics and so on.Sorting out the technique of "blank space" in landscape paintings of the Southern Song Dynasty will not only help us to further understand Chinese traditional landscape paintings,but also be better applied to the creation of contemporary Chinese paintings.By exploring the evolution process and law of landscape painting composition in the Southern Song Dynasty,the author then analyzes the artistic background of the blank technique in the composition of the Southern Song Academy landscape painting,discusses the theme and artistic conception of blank in the composition,and analyzes the poetic pursuit and expression of "emptiness" and "whiteness" to "distance" in the composition of the Southern Song Academy landscape painting.The author explores the inner meaning of "blank space" expressed in the "corner-style" composition of Ma Yuan and Xia Gui in the Southern Song Dynasty,which is mainly summarized as the aesthetic characteristics of the combination of reality and reality,the spatial arrangement of overlapping hidden dew,the creation of "distant meaning" space by giving up instead of taking it,and the aesthetic spirit of "unity of poetry and painting".Summarize how Ma Yuan and Xia Gui found another way to pursue the artistic conception of landscape painting with strong characteristics of the times,and also respond to the improper evaluation of "leftover water from mountains" by theoretical circles.This paper also describes the development of blank space technique after the Song Dynasty and its influence on Japanese "Han paintings",which makes our understanding of blank space clearer.