The Exploration And Analysis Of The Transformation And Application Of Literati Brush And Ink In Blue And Green Landscape Painting

The development of Blue and Green Landscape paintings has its own unique and glorious trajectory in the history of painting.From the Jin and Tang dynasties,later painters,from Zhan Ziqian’s "Spring Tour" to Li Sisun’s and Li Zhaodao’s Blue and Green Landscape paintings,were able to give people a visual feast,and the viewer could feel the author’s subtle ideas and the author’s own heart.However,later generations were always imitating the color schemes and programs of their predecessors’ works,so although they could imitate the forms and colors,they could hardly obtain the "moral spirit" of them.After the Tang and Song dynasties,literati painting became prevalent,and "brush and ink" became a medium for expressing the inner spirit of the heart.However,the word "brush and ink" in literati painting refers not only to the way or the tool of expression,but also to the technique of using the brush and ink.When the literati intervened in the field of Chinese painting,they brought in their own cultural heritage and spiritual aspirations and formed a unique painting language,which made the intrinsic meaning of literati brush and ink transcend the medium of brush and ink.So why can’t the creation of green landscape break through this intrinsic value of brush and ink and integrate it into the heart of literature?It may have been a consensus in the minds of the creators that it is difficult to demonstrate the method of using brush and ink in the Blue and Green Landscape paintings,but our later scholars have not attached importance to the fact that there was already a pioneer like Wen Zhengming in the Ming dynasty who provided a reasonable model.In this respect,Wen Zhengming could be an inspiration to later scholars.The aesthetic changes in Wen Zhengming’s Blue and Green Landscape paintings are due,on the one hand,to the changes in his time,identity and folklore and,on the other hand,to his personal painstaking efforts to construct a new style of literati Blue and Green Landscape paintings in the Ming dynasty.It is very meaningful and necessary to explore the transformation and use of literati brush and ink in green landscape in the context of Wen Zhengming’s works,and to make an in-depth consideration of the integration and transformation of literati brush and ink in green landscape,in order to facilitate the development and study of the Blue and Green Landscape paintings.Even in the process of collision and fusion there are inevitable failures and conflicts that arise.In the face of this,later scholars should also seek to balance the beauty of the picture.However,this requires a process of time and the experience of the creator.Therefore,it is important to follow in the footsteps of those who have gone before us and draw on their experiences to reconstruct a new chapter of ’Integration of Color and Chinese Ink’.We should firmly believe in the cultural charm of the green landscape itself.In the long,long line of history,although there are various ways of expressing mountains,clouds,woods,waterfalls,long rivers and so on,people’s love for green mountains and water is a natural desire to hold on to their spirit.Later generations of creators can make the effort to incorporate the most Chinese literati brush and ink into the creation,reshaping the quality with a literati’s heart,and practicing the Blue and Green Landscape that are full of the charm of literati painting.