A Study On "Image" And "Pictography" In Ni Zan's Landscape Painting

Since Ni Zan’s painting style had a great influence on later generations,his paintings were as quiet as zen,while his style of barren and simple artistic conception was highly praised.Mr.Jiang clarified the "image" and "pictographic" in the "Interpretation of Chinese Painting Academic Language".Based on his interpretation content and his understanding of the spiritual realm of Ni Zan’s landscape painting,this paper analyzes the "form" and "image" in the painting and combines the "image" and "pictographic" in the painting with the painter’s spiritual activities,then studies the relationship between the image of Ni Zan’s landscape painting and painting theory.The ancients regarded "images abstracting from viewing",with the "rational image" of the law of changes in the universe,while the artistic image symbolized emotion with images,and the prevailing "seclusion" in the Yuan Dynasty was reflected through artistic images.The third of Xie he’s "Six Methods" is "pictographic image","the object" refers to the depicted,"pictographic" refers to the characteristics of the shape to be depicted,that is,the painting is required to be lifelike and "vivid charm"."Pictographic" in Chinese landscape painting is mainly reflected in "learning from nature" for achieving the unity of "likeness in form" and "likeness in spirit".This paper discusses the theoretical basis of "image" and "pictographic" in Chinese culture,explores and finds the philosophical basis of "form" and "image" in Chinese cultural history,then analyzes the embodiment of "image" and "pictographic" in Ni Zan’s landscape painting by combining with the painting theory in the history of Chinese painting.It explores the void image,literati image and elegant image of Ni Zan reflected in his paintings,as well as the painting method behind these images,then analyzes his painting spirit from painting poems.It depicts the relationship between nature,life and "pictographic" in his paintings by combining his paintings and the background of the times.On this basis,it combines painting practice,applies theory to practice,and guides painting creation practice.