In the history of the development of Chinese painting, the change of “Shen” and “Yi” has always been a topic of discussion. From the Wei and Jin Dynasties to the Song and Yuan Dynasties, from the emphasis on the “Shen” to the “Yi”, reflecting the development of Chinese painting constantly absorbing and innovating. Taking Gu Kaizhi and Ni Zan as representatives, this paper analyzes the painting theories and painting styles of painters from two different eras to demonstrate the relationship and change of “Shen” and “Yi”, and to consider the direction of the development of the contemporary painting appraisal system.
References
[1]
Han, G. (2006) God from the Source of the Two Products and Their Location Test. Chinese Painting and Calligraphy, 157-161.
[2]
Li, C.X. (2020) Zhuangzi’s Thought of Form and Spirit and Gu Kaizhi’s “Theory of Conveying Spirit”. Fine Arts Observation, 67-68.
[3]
Ge, L. (2009) History of Chinese Painting. Peking University Press, Beijing, 28.
[4]
Chen, Z.F. (1957) On Gu Kaizhi’s Painting. Fine Arts Research, 36-46.
[5]
Shen, Z.Q. (1959) Mustard Zhou Learning Painting. People’s Fine Arts Publishing House, Beijing.
[6]
Gu, K.Z. (1979) On Painting. Shanghai People’s Fine Arts Publishing House, Shanghai.
[7]
Yu, J.H., Luo, Z. and Wen, Z.T. (1962) Research Materials of Gu Kaizhi. People’s Fine Arts Publishing House, Beijing.
[8]
Wu, Z. (1982) Debate on “Moving thoughts and Obtaining Wonderful Things”. Journal of Nanjing University of the Arts (Fine Arts and Design Edition), 71-75.
[9]
Li, Y. (2018) A Comparative Study on Ni Zan’s “Yi Bi Yi Qi” and Huang Xiufu’s “Yi Ge”. Ph.D. Thesis, Yangzhou University, Yangzhou, 20-21,
[10]
Zhou, J.Y. (1994) Ni Zan’s Aesthetic thought of Painting. Art Garden (Art Edition), 14-18.
[11]
Yu, P.T. (2023) Discussion on Aesthetic Transformation of “God” and “Escape”. Art Education Research, 65-67.
[12]
Yang, S.P. (2021) On the Change of “God” and “Escape” in Chinese Painting Aesthetics. Journal of Luoyang Normal University, 40, 92-97.
