| dc.description.abstract | During the turbulent period in the late Ming Dynasty, Shao Mi was well-known for his poetry, calligraphy and painting works, which continued to the beginning of the Qing Dynasty but did not fade. However, due to the rare biographical record of Shao Mi, the works scattered around.The current academic researches are mostly focusing on the dates of his birth and death rather than the stylistic changes of his works at the different stages of his life, and the studies on his paintings are very few either. Therefore, this article aims to explore the life and painting achievements of Shao Mi in the late Ming Dynasty. On the basis of previous studies, we will continue to dig deeper into his life information, especially from the interaction with his friends to more abundantly present the artist’s personal character. At the same time, this paper will also take different paintings from his life as examples, especially ＂antique landscapes＂, ＂scenic landscapes＂ and ＂lingjing landscapes＂, to find Shao Mi′s stylistic changes.
The article is divided into three chapters. Firstly, The first chapter sorts out Shao Mi’s life profile and his social relations. It is mainly based on the discussion between Zijiong and Wu Weiye, and the interaction among Shen Hao, Wen Congjian and other friends, to explore the reasons why Shao Mi was reputable in Wudi′s literati circle, and also try to present his living environment. Secondly, in the second chapter, this paper takes the ＂oddness(qi)＂ atmosphere of the late Ming Dynasty as the starting point, to illustrate the experience and the innovation from Shao Mi′s imitation of the Song and Yuan dynasties from 1625 to 1627 and the imitation of the Wumen school of painting from 1634. This chapter will also explore the uniqueness of his paintings from his strange(qi) and clumsy(zhuo) features of the ＂antique landscapes＂. Finally, the third chapter uses the ＂lingjing landscapes＂ painted in 1638 as the direction of inquiry. From the ＂mingsheng＂ and the ＂lingjing＂ painted by Shao Mi, the painter′s misery and imagination between reality and dream was shown, and in 1642, Shao Mi was completely absorbed in his paintings, which reflects the painter’s yearning and expectation for a better life. | en_US |