Which period of China's typical female art image is represented by the ladies in "Lady Guo Guo's Spring Journey"?

Lady painting belongs to the category of traditional Chinese figure painting, and the main object of portrayal is female, through the portrayal of female figures to express the aesthetic concepts and artistic characteristics of that era. The term "ladies" first appeared in the Tang Dynasty, and was not commonly used until the Song Dynasty.

The emergence and development of the painting of ladies

The Wei, Jin, and North and South Dynasties were the early stages of the development of the painting of ladies. The female figures depicted in the Wei, Jin, and Northern and Southern Dynasties were mainly ancient virtuous women and fairies in mythological stories, etc. Most of the archetypes of these figures came from poems, fugues, and other literary works and folklore. When painters expressed these women, who were both far from real life and idealized, they paid most attention to how to convey the inner spiritual temperament of the depicted objects through the portrayal of women's external images. At present, the earliest surviving scroll painting of a woman, Gu Kaizhi's Luoshen Fu, is based on Cao Zhi's Luoshen Fu. From the depiction of the goddess of the Luo River in the Luoshen Fugu, we can see the typical Wei and Jin period women's beautiful bones and clear image, and the ancient style, which represents the style of ladies' paintings in the Wei and Jin period.

Women's paintings in the Tang Dynasty has been a great development, and before the Tang Dynasty, there are few independent paintings for the expression of the female figure, for example, the Eastern Jin Dynasty Gu Kaizhi's "Luoshen Fugu", "Women's History" and other works, are based on the archetypal works of literature or folklore, and have the social function of preaching to help the theory of human beings. Until the Sui and Tang dynasties, painters began to focus on the independent expression of the female image, painters not only inherited the previous generation of the concept of "writing God in the form", but also developed their own characteristics - fat and colorful female image, so that the painting of women towards a peak of development. The great development of the painting of ladies in the Tang Dynasty and the formation of the unique aesthetic tendency is a great connection with the social culture of the time.

Three, the Tang Dynasty painting

The Tang Dynasty, is the prosperity of the painting of ladies, but also the most glorious era of feudal society. The painting of ladies was emphasized in the early Tang Dynasty, and its prosperity in the Tang Dynasty had a close relationship with the economy, culture, political policy, people's mental outlook, and the ruler's aesthetic needs of this era. The prosperity of the country laid a deep economic foundation for the development of ladies' paintings. In the Tang Dynasty, under the guidance of the aesthetic standard of fat for beauty, the painting of ladies respected in the Wei and Jin Dynasties, "beautiful bones and clear like" has no trace, and dignified and gorgeous, graceful and elegant style known, these fat and plump female image, both the real life of the characters of that era is a true depiction of the aesthetic requirements of society at that time is also reflected.

(I) Zhang Xuan

Zhang Xuan, a native of Jingzhao (present-day Xi'an, Shaanxi Province), was active during the reign of Emperor Kaiyuan and served as a painter of the Historical Hall, an outstanding figure painter of the Middle Tang Dynasty who was good at painting the images of women and babies of the court nobility, and whose works were mostly based on the theme of the playful life of the nobility, and who also performed many works by Emperor Xuanzong of the Tang Dynasty and Yang Guifei. He was not only able to depict the gestures, moods, and leisure life of women in the upper class, but also the desolate mood of court women who were left out, vividly reflecting the emptiness and bitterness of their spiritual life, and letting the viewer feel a special kind of femininity as well as the lonely state of mind of the court women.

(2)

The Spring Tour of Lady Guo Guo

The Spring Tour of Lady Guo Guo, color on silk, copied by Zhao Ji, Song Zhengzong, is now in the Liaoning Provincial Museum, which depicts the spring tour of the sisters of Yang Yuhuan, the favorite consort of Emperor Xuanzong of the Tang Dynasty. There is no background to the painting, but rather the theme of springtime is expressed through the rhythmic composition, the leisurely and relaxed characters, the light and delicate pace of the riders, and the bright and soft costumes of the characters. The whole picture composition is coherent, vivid and realistic characters, portrayed exquisitely, the lines are fine and strong, smooth and soothing, the picture coloring is even and clean, colorful but not vulgar, reflecting the high level of painting of ladies during the Tang Dynasty and the Tang Dynasty advocate the aesthetic interest of health and plumpness, representing the era of Tang Dynasty style of character modeling.

Four, the artistic characteristics of the Tang Dynasty paintings of ladies

(a) Character modeling

The Tang Dynasty paintings of ladies in the figure of little change in the body, the proportion of moderate, simplified and generalized detailing, high up buns, implicit and tense lines outlining the fullness of the body. The face portrayal is similar, thin eyes, cherry mouth, full and rosy cheeks, not much facial expression, this kind of face portrayal has almost become a unique model of the Tang Dynasty. Although the image portrayal is similar, it can also convey the unique charm of Tang Dynasty ladies' paintings, showing the world a unique and beautiful classical style.

"Vividness and vividness, and the expression of the spirit" are the requirements of traditional Chinese painting. The artistic image of Tang Dynasty ladies' paintings has reached the highest level of both form and spirit, and vividness. This is the application of Gu Kaizhi's "Theory of Transfiguration".

(2) Compositional Characteristics

One of the characteristics of Tang Dynasty ladies' paintings in terms of composition is the scattered perspective. Scattered-point perspective allows painters to break through spatial limitations, exercise greater freedom, and maximize the characteristics of scroll paintings, making it easy to create, collect, and view.

Another compositional feature is that the background of the picture is left white. White space is the most important form of expression in the formal beauty of Chinese paintings, i.e., giving full play to the expressive power of the blank background and triggering the viewer's imagination.

In Mrs. Guo Guo's Spring Journey, we can see one of the characteristics of figure painting: the background of the picture is left white, white as black, and the combination of the characters, their movements, and the use of color are used only to bring out the breath of spring, which is full of the interest of life, and the theme is clearly expressed.

(3) Line

Line is the main modeling language of traditional Chinese painting and the soul of Chinese painting. Ancient people summarized the lines used to depict figures as "Iron Line Drawing", "Willow Leaf Drawing" and other eighteen drawings.

Tang Dynasty paintings of ladies with lines to "string depiction" is the main, the line is quite key, elegant, fine and strong without losing the delicate, delicate and simple style, fully expresses the charm of women. In <>, the refined iron line depiction, fine, rounded, beautiful and strong, depicts the clothing pattern of the characters and the walking posture of the horse, and the whole picture is neat and smooth, rich in decorative.

(4) Color

In "Lady Guo's Spring Journey", the whole picture is united in a reddish-brown tone, the contrast between warm and cold colors, the mixing of colors and inks, and the change of color levels are grasped appropriately, which makes the whole picture radiant, colorful, brilliant and harmonious, and gives people a feeling of bright springtime, the noisy birds' voices, and the scent of flowers.

Fifth, the artistic influence of the Tang Dynasty painting of ladies

Tang Dynasty painting of ladies formed a unique artistic style in the context of a specific era, is a brilliant period in the history of Chinese figure painting, and has had a far-reaching artistic influence on future generations. The painting of ladies in the Tang Dynasty also has a great influence and inspiration on the creation of modern figure painting. In the process of learning figure painting, we should start from copying ancient excellent paintings, draw useful nutrients from them, learn and inherit the excellent performance techniques, so as to create better art works by combining the characteristics of the new era with those of the new era on the basis of inheriting the tradition and integrating the beneficial factors of western painting.

Sixth, conclusion

Because of the Tang Dynasty's strength and openness, created the colorful and magnificent Tang beauties, at the same time, also created a distinctive Tang Dynasty brushwork painting of ladies. Its artistic achievements transcended the times and embodied the unique charm of national painting art, so we have to carry forward its artistic tradition and charm on the basis of inheritance.