Dislocation and Selection of Aesthetic Orientation——Comparison Analysis of Tang Yin's Landscape and Flower-and-bird Creation

Ming Dynasty is a period of unprecedented prosperous era in Chinese painting history. The Ming Fourswas pursuing a kind of painting style with the characteristics of Ming Dynasty,which was proceeding in the condition of commodity economy influence,liberal arts aesthetic mutation and various painting styles coexistence. Tang Yin,one ofthe Ming Fours,was in that condition. In his inner heart,he was mainly pursuing landscape creation and trying to seek a breakthrough in the compatibility of Yuanti painting and literati painting. Because of the molding request in Yuanti style and the contradiction between secular aesthetic ideas and literati aesthetic ideas,it was hard for him to transcend and show landscape artistic value. Flower-and-bird painting was another mode of Tangyin's art pursuit,and with entertainment intention,it succeeded the plain and simple style of literati painting in Yuan Dynasty. All these led to his dislocation between landscape painting and flower-and-bird painting. If we make a deep analysis on Tang Yin's works,with the comparison of his landscape creation and flower-and-bird creation,we can see his aesthetic orientation ———the contradiction between landscape painting and flower-and-bird painting,and its solution. Tang Yin's drawing state is an example,which reflects the common art state of scholar painters in Ming Dynasty.