From 1960 to 1 127, the class contradictions and ethnic contradictions in the Northern Song Dynasty and the Southern Song Dynasty were extremely acute and were destroyed by wars many times, but social development did not stop. On the basis of the development of handicrafts, agriculture and commerce, culture and art have flourished and painting has reached a new level.

The Northern Song Dynasty inherited the old system of the Western Shu and Southern Tang Dynasties. At the beginning of the founding of the People's Republic of China, the imperial court set up the Hanlin Painting and Calligraphy Institute, which played a certain role in promoting the development of painting in the Song Dynasty and also trained and educated a large number of painting talents. Zhao's painting academy is becoming more and more complete, and "painting" has also been formally included in the imperial examination. All painters in the world can pass the examination and enter the palace as officials. This is the most prosperous period of palace painting in the history of China. During the Northern Song Dynasty, the most outstanding achievement was the creation of landscape painting. Painters inherited the tradition of the previous generation, and in the process of observing and experiencing nature deeply, they created different ways to express different rocks and trees with different brushwork, which made famous artists come forth in large numbers with colorful styles. Li Cheng and Fan Kuan are its representatives. Flower-and-bird painting plays an important role in the court painting in the Northern Song Dynasty, and its style is rich and rich, which was not changed until the appearance of painters such as Cui Bai. The main achievements of figure painting in the Northern Song Dynasty are reflected in the creation of religious painting, figure painting, story painting and genre painting. Wu Zongyuan and Zhang Zeduan are both outstanding figure painters.

During the Northern Song Dynasty, apart from a considerable number of professional painters in the court and the people, there was also a team of amateur painters among the literati with certain status and official positions. Although they don't take this as their profession, they have remarkable characteristics and outstanding achievements in the creative practice and theoretical discussion of painting, and formed their own system, which was called literati painting at that time and later called literati painting. Participating in painting activities as bureaucrats, nobles and literati has existed since ancient times, but their works are no different from professional painters and have no theoretical system of their own. However, after the mid-Northern Song Dynasty, Su Shi, Wen Tong, Huang Tingjian, Li, Mi Fei and others were active in painting, and the momentum of literati painting gradually increased. Su Shi clearly put forward the concept of "literati painting" and thought that literati painting was higher than the painter's creation. They also found a development vein for literati painting. Wang Wei in the Tang Dynasty and even Gu Kaizhi in the Eastern Jin Dynasty became the founders of this system, emphasizing that painting should pursue the poetic realm of "three simple Dan", that is, the so-called "painting in poetry, painting in poetry". It advocates improvisation, does not stick to the description of the shape of objects, and demands to achieve the realm of "getting carried away". The techniques used are mainly ink painting, and the content is extended from landscape to flowers and birds, which is related to the increase of landscape flower and bird painters born in this period. The rise of this trend of thought is a great event in the history of China painting, which not only has a far-reaching impact on the development of China painting in later generations, but also has an impact on China painting circles for a period of time.

Li Tang, Liu Songnian, Ma Yuan and Xia Gui, known as the "Four Schools of Southern Song Dynasty", are the representatives of landscape painting in Southern Song Dynasty. They created their own works on the basis of inheriting the previous generation.

During the Southern Song Dynasty, literati painting was not only further discussed in theory, but also made remarkable achievements in practice. Mi Youren's Mo Opera in Yunshan, Mo Mei supplemented by others, and Zhao's narcissus orchids are all valued by the world. Plum, orchid, bamboo and chrysanthemum are called "four gentlemen", which are still valued by painters and have basically become the fixed themes of literati paintings in the Southern Song Dynasty.

Li Tang, Xiao Zhao, Su Hanchen and other famous painters in the Southern Song Dynasty. Many of their figure paintings are related to the political struggle situation at that time. The appearance of Kai Liang, who chose more historical stories and realistic themes and was good at reducing brushstrokes, opened up a new road for the creation of China's figure painting.

There are many noteworthy artistic phenomena in Ming dynasty, such as 1, the development and evolution of literati painting school, the commercialization of literati painters' works in the wild and the near professionalism of their works, which contributed to the development of literati painting and calligraphy system; 2. In the mid-Ming Dynasty, after the budding capitalist mode of production appeared in the south of the Yangtze River, where handicrafts and commerce were developed, citizens' culture and aesthetic consciousness gradually grew. In the field of art, it not only directly led to the vigorous development of woodblock New Year pictures and folk arts and crafts synchronized with citizen literature, but also made new cultural concepts and aesthetic interests penetrate into literati paintings and calligraphy; 3. At the end of the Ming Dynasty, European businessmen and missionaries came to China to spread Catholicism and science and technology, and also brought western classical works of art, which opened the eyes of China people and promoted the comparison between Chinese and western art by China artists. It is worth noting that in the early, middle and late Ming Dynasty, different painting schools occupied a dominant position, and in the early Ming Dynasty, there were court painting schools and Zhejiang schools.

There were no painting academies in the Ming Dynasty, but there were court painters. As early as the early years of Hongwu, the Zhu Ming regime with its capital in Nanjing recruited painters from Zhejiang and Fujian. After Yongle moved the capital to Beijing, various dynasties also moved the capital one after another. The court painters in Ming dynasty had no professional titles, which was different from the painting academy in Song dynasty. Most of them are dedicated to Renzhi Hall, Wenhua Hall and Wuying Hall, belonging to the censor and Li Si supervisor of the twelve eunuchs in the Imperial Palace. It is also a very special phenomenon that some skilled people are awarded the position of Royal Guards, such as commander, commander, thousands of households, hundreds of households, town magistrate and so on. Royal Guards are the imperial army of the Emperor, and there is no quota limit. From the beginning of the Yuan Dynasty, Zhejiang and Fujian had the tradition of quadrangles in the Song Dynasty. With the painters from the two places entering the palace to paint, the courtyard paintings in Ming Dynasty showed the appearance of learning from the Southern Song Dynasty and the famous artists from the Northern Song Dynasty, also known as "courtyard style". The painter who is closely related to the academy is Dai Jin. His art is mainly based on law and harmony, and then integrated with the Northern Song Dynasty. He formed a relatively new style in landscape figure painting, which was called "Di-"by some literati painters. Although Xuande was recommended to the palace during the reign of Emperor Xuande, he was immediately reinstated, but it had a wide influence among professional painters and attracted a large number of followers. Because Dai Jin was a native of Qiantang, Zhejiang, later generations called this painting school Zhejiang School. After Dai Jin, from Xuande to Hongzhi, more and more Zhejiang painters went to the palace to worship, making it more difficult to distinguish between the academy and the Zhejiang school (the concept of the academy is greater than that of the Zhejiang school). After Hongzhi, the latecomers of this school became more tangible and simple, and then declined. As for Lv Wang, a native of Kunshan, Jiangsu Province, who was famous for Huashan Map and Huashan Map Preface in the early Ming Dynasty, he advocated that "I should learn from my heart, mind and eyes". Although his painting method originated from Ma Yuan and Xia Jue, he is not a Zhejiang painter. Although some people used to call Lan Ying "the leader of Zhejiang School", his artistic origin and style had nothing to do with Zhejiang School except his native place of Qiantang, Zhejiang.

Dai Jin and the outstanding representatives of Zhejiang Landscape Painting in Wei Wu Painting Academy are Dai Jin (1388- 1462) and Wei Wu (1459- 1508). Their inseparable connection has greatly influenced the artistic pursuit of professional painters inside and outside the hospital. Although these two painters are from humble origins, they are versatile and good at painting, but their life experiences are not the same. Dai Jin, also known as Jin Wen, was named Jing 'an. He leads a hard life. He started as a silversmith and later began to study painting. He entered the palace twice between Yongle and Xuande. Because his colleagues falsely accused him of painting, he had to live in Jiangxiang. "It is not enough to buy a lifetime painting." Wei Wu, known as filial piety, is an orphan. When he entered the palace for the first time, he was favored by the emperor and was known as the "immortal pen". When he entered the palace again, he won the seal of "painting champion". However, he was not detained by the imperial court and lived in rivers and lakes. Although their landscapes originated in the Southern Song Dynasty, they have different styles. Dai's enterprising method is mainly based on the Southern Song Dynasty, dating back to the Northern Song Dynasty and reaching the Yuan Dynasty, "turning the Southern Song Dynasty into a vigorous and gloomy body and becoming a combination of strength and sharpness". His landscape paintings are richer in scenery and more realistic in life than those in the Southern Song Dynasty, and most of them are exquisite in composition, magnificent, rich in texture, vigorous in brushwork and rigorous in statutes. He is particularly good at arranging the activities of characters with a little plot in the landscape. At first glance, he has momentum, but he can "swim lying down" and look at life carefully. This is true of "Three Visits to the Cottage" with historical stories as the theme and "Spring outing and Late Return" describing real life. This kind of landscape painting is essentially a landscape figure painting with landscape as the theme. Although Wei Wu is "from dressing" and "more elegant in brushwork", he has greater boldness of vision and more concise and complete scenery modeling. Dai Jin painted rocks, split them with an axe, "pay attention with a pen", and tachileik painted horizontal lines, which seemed random. Many of Wei Wu's landscape paintings, each with large figures, are actually landscape paintings with scenery as the background. The characters in the painting are high-spirited, natural and unrestrained, floating away from things, combined with mountains and rivers, which can give people a strong impression of simplicity, boldness, ink and wash, and beauty. Among them, Liu Xia's Reading Picture and Xia Mei's Father Picture are representative. Dai and Wu also created figure paintings, but the former rarely crossed the barriers of the Song Dynasty in terms of materials and painting methods, and inherited more than created, with little new ideas. The latter, on the other hand, combined the short sketches of the Yuan Dynasty and the Southern Song Dynasty and made the "Sketch of Wulingchun", aiming at praising prostitutes with pure and noble character and loyal love, and placing infinite sympathy on them. The choice and conception of materials are out of date, and the painting method is relatively easy and satisfactory. Inside and outside the Painting Academy, there are many people who follow Dai Jin's painting style, such as Summer Solstice, Li, etc. Critics call this school "Zhejiang School" according to Dai Jin's native place. After Wei Wu was named, many followers, such as Zhang Lu and Song Jiang, appeared among the professional painters inside and outside the school, forming the Zhejiang tribe. Critics also named Wei Wu Jiangxia School after its birthplace.

Palace figure painting and flower-and-bird painting were all incorporated into the Royal Guards in Ming Dynasty, and Wu Zhi, who was entrusted with the management of eunuchs, was inferior to the court painter in Song Dynasty. Moreover, because the imperial court abused the imperial power, the creation of figure painting was not as prosperous as that of landscape flowers and birds. There are only three known figure paintings: portraits of emperors and music drawings, such as Xuanzong music drawings of Shang Dynasty; Praise the emperor's literary talent and martial arts, such as his loss of "Mao Qibing"; The loyalty of the monarch's corporal and courtiers is described in ancient times, such as "visiting Pu on a snowy night".

The flowers and birds in the courtyard are unified in style and diverse in appearance. What they have in common is that they inherited the tradition of the Song Dynasty and made some changes. They take meticulous observation and meticulous description from painters in the Southern Song Dynasty, but they can also abandon tenderness. They are good at making big pictures with full and complete compositions. Animals are exempt from business. They often put flowers and birds in a specific environment, and the combination of labor and words makes fine flowers and birds and extensive wood and stones set each other off in interest, while being gorgeous without losing simplicity and rigor. Bian, Sun, Lin and Lu, who were active in different periods, were also good at winning games, representing the achievements of flower-and-bird painting in the academy. Bian Jingzhao, a native of Shaxian County, Fujian Province, entered the palace at the beginning of Yongle. He was good at meticulous brushwork, elegant and dignified, and did not spare his business. He inherited the tradition of the Song Dynasty. Sun Long (Long), a native of Piling, Jiangsu Province, was a professional figure without bones when Xuande proclaimed himself emperor. In the Northern Song Dynasty, it was far away from Xu Chongsi, and in the Southern Song Dynasty, it was near Muxidi. He doesn't care about hooking up. He draws silk on cooked paper with solid colors, which is vivid, natural and interesting. Lin Liang (about1416-1480), a native of Nanhai, Guangdong Province, was served by Tianshun Zhong and was kind. He is good at freehand brushwork in ink painting, especially eagle painting. His composition is magnificent, his image is magnificent, his atmosphere is strong, his pen is vigorous and unrestrained, and he can also be meticulous. His freehand brushwork includes Starling and Two Eagles. The former describes the mighty eagle descending from the air and turning to pounce on the fleeing starling, showing a tense and exciting atmosphere; Meticulous works include Camellia and White Flowers. Lv Ji (1477 a? ) the word is quite zhen. He lives in Jingzhao, near the border, studying in the academy of Song Dynasty. In addition to being good at elegant and steady meticulous painting, he can also melt Lin Liang and Sun Long into one furnace, making ink and wash light and freehand, eclectic and full of vitality. Meticulous works include "Birds in Guiju Mountain" and freehand works include "Residual Lotus Eagle and Egret". According to records, he can also "paint a remonstrance" with a special purpose. Their artistic achievements, which have similarities and differences, not only inherit the excellent tradition of "freehand brushwork" and "implicit" of China's flower-and-bird painting, but also promote the development of freehand brushwork.

Pioneer of Wumen: The painting circle in the early Ming Dynasty was not unique to Zhejiang School and Academy. Other painters follow the tradition of literati painting in Song and Yuan Dynasties, and are good at painting landscapes and gentlemen. More famous, such as Elvis Presley and his disciple Xia Fang, as well as Du Qiong, Xie Jin, Shen Zhen and Liu Jue, laid the foundation for the rise of Wu Pai.

Lv Wang (1332-died in Hongwu) and Huashan Map: Lv Wang lived in the late Yuan and early Ming Dynasties, and was a famous doctor, a learned scholar, painter and theorist. The word "Daoan" comes from Kunshan. Longer than mountains and rivers, he is known as Xia Gui in history, with the characteristics of "exquisite brushwork, dense layout and salty writer's morale". His works include Huashan Atlas, a full volume of 40 pieces, half ink and half color, which is the final edition of his Fifty-one. Not only sketches, but also prefaces, epilogues and 150 poems, which can be regarded as creative notes and creative ideas. Among them, Preface to Huashan, Preface to Painting and Self-mockery of Sucheng Opera are of great significance. In "I laugh at myself", I said: "I seldom like painting mountains, like imitating the four or five schools, and I often hate being unrealistic. Climbing Huashan Mountain, you can see wonderful performances falling from the sky, and people who don't simulate can also simulate. So let's get rid of old habits and let artists fall from the sky. Then, although it can't be small, it will be wonderful, or it will not be tied up by various families. " Since the Song and Yuan Dynasties, the theory that painting pays more attention to the interest of pen and ink than to the shape has a wide influence. Wang sharply demonstrated the relationship between simulation and innovation, the relationship between imitating ancient people and nature, and the relationship between form and meaning. He emphasized: "The intention is form, so what is the meaning of no form?" Those who get the shape are full of meaning. (Preface to Huashan Map) His series of viewpoints are finally summed up as: "My heart is a teacher, my heart is a teacher, and my eyes are a Huashan teacher", which is a new theoretical exposition of Zhang Wentong's "learning from nature and learning from heart" in the Tang Dynasty.