The evolution of the coloristic of Chinese painting of the Tang, Song and Yuan periods (VII-XIV centuries) — from color to ink

The article examines changes in the coloristic of Chinese painting during the Tang, Song, and Yuan dynasties, highlighting the influence of these dynastic shifts on the development of the painting palette. The focus of the research is on the tools used to study the coloristic of Chinese painting throughout its historical evolution, specifically during the Tang, Song, and Yuan periods. A significant connection exists between the subject and object of the study, evident in the transition from color to ink in Chinese painting. The study aims to explore the evolution of coloristic in these three periods and identify their main characteristics. Initially, the prehistoric palette was limited to five primary colors. However, with the rise of the Wei and Jin dynasties and the influence of Buddhist art, the palette expanded, impacting techniques such as Qinliu. The Tang dynasty represented the pinnacle of color usage, while the Song period shifted focus toward mascara and brushstroke variations. In contrast, the Yuan period showcased a refined application of mascara, favoring subtle shades over bright colors. Research methods include historical periodization and art historical attribution to analyze color scheme changes from the 7th to the 14th centuries. The scientific novelty of this research adds to theoretical frameworks regarding color use in Chinese art. Each era contributed uniquely to the development of fine art, with constant evolution in color schemes during the Tang, Song, and Yuan dynasties. The subsequent Ming and Qing dynasties emphasized black, reflecting inner emotions and signifying a shift from floral colors to ink. This transition correlates with political, economic, and cultural transformations, as well as philosophical influences. The findings have both theoretical and practical significance, applicable in educational contexts and future research.