On xu wei's painting style.

Xu Wei is a native of Wen Qing, Tianchi Mountain, and other nicknames, such as Tian Danshui, Tianchi Sheng, Tianchi Fishing Hidden, Ivy Old Man, Jin Lei, Jin Hui Mountain Man, Yinshan Buyi, Baiyin Mountain Man, Goose Nose Shan Nong, etc. In his later years, he became an Ivy League Taoist, or signed Tian Shuiyue. Yin Shan (now Shaoxing, Zhejiang) was born. Born in the 16th year of Zhengde in Ming Dynasty (152 1), he died in the 21st year of Wanli in Ming Shenzong (1593). China was a painter, calligrapher and dramatist in Ming Dynasty. Xu Wei has profound attainments in poetry, drama, painting and calligraphy, and is an innovative writer and artist. The scope and achievements of Xu Wei's artistic activities are extensive and outstanding, and the history of China's literature, China's calligraphy and China's painting should all be heavily written down. However, looking at the evaluation of Xu Wei's art in later generations, what is most admired and noticed is his artistic achievements and historical influence in painting. Behind the unique personality of Xu Wei's painting style, there are many important propositions of painting art and even the whole art law, which are very typical. Classics always attract the attention of future generations. Since the Ming Dynasty, the comments and research on Xu Wei's paintings have never stopped. However, compared with the research and comments on Xu Wei's literature, the research on his paintings is still insufficient. These are the reasons for choosing this topic. Judging from Xu Wei's paintings handed down from ancient times, most of his themes are concentrated in the field of flower painting, and his style belongs to the category of freehand brushwork in Chinese painting, which is generally recognized by the academic circles. Therefore, this paper will rely on his flower-black paintings, and the research object is the freehand brushwork style of Xu Wei's flower-and-bird paintings, and the scope of his works is limited to Xu Wei's flower-and-bird paintings, excluding his figure paintings. It is necessary to clarify several concepts in this topic: Xu Wei, as a historical fact, has always been a scholar in traditional culture, so this paper defines Xu Wei as a scholar, not an artist divided into painters, calligraphers and writers in today's sense. Therefore, the study of his artistic activities and achievements should be viewed from a broad cultural perspective, and his research in literature, painting and calligraphy should be comprehensively investigated. Moreover, this paper focuses on Xu Wei's acquired cultural psychological personality, which does not involve his innate physiological temperament and mental illness for a period of time. Aiming at the problems existing in Xu Wei's painting research, this paper first combs and analyzes the tradition of freehand flower-and-bird painting, the inheritance and aesthetic origin of cursive script and painting in Ming Dynasty from the perspective of style development history. Then, on the basis of comparing Xu Wei's painting style in the school of freehand brushwork, this paper makes a general description of his painting style. Then analyze the elements of his painting style creation from the formal level, and investigate the relationship between Xu Wei's painting thought and his style. Then, in addition to the evolution of style, put Xu Wei in a specific historical and cultural background, analyze his life personality and its influence on his artistic impulse and ideal of painting creation, and explain the deep motivation of his painting style creation and selective inheritance. Finally, the contemporary significance of Xu Wei's paintings is discussed. 1 3 focuses on the aesthetic level, chapter 4 focuses on the non-aesthetic level, and chapter 5 summarizes and reflects on the theory.