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As two important painting styles alternatively derived from the Han cultural thinking, the realistic and ideographic characteristics of Chinese painting faced different perspectives of different mainstream thinking orientations of the observers. The evolution of the cultural life naturally affected the changes of the painting style. In this article, the origin, crisis and the artistic conception of "rhythmic vitality" of the painting's ideographic characteristics were revealed through studies on long painting history from the Former Qin Dynasty up to now. Additionally, the unique understanding on the restoration of the painting's ideographic characteristics to be the mainstream of Chinese paintings was discussed through presenting the issues shown at the intrinsical level of paintings. KEYWORD: Ideographic characteristics; Chinese painting; The Han culture; Thinking orientation; Philosophical consciousness

Impact of Han Cultural Thinking Orientation on Ideographic Characteristics of Chinese Painting