The development of painting discipline in Song Dynasty was more detailed and specialized. During Song Huizong's period, painting was divided into six branches: Buddhism and Taoism, figures, landscapes, birds and animals, flowers and bamboo, and house wood. The description of Tibetan paintings in Xuanhe Huapu can be divided into 10 categories: Taoism and Buddhism, figures, palaces, fan nationalities, arowana, landscapes, animals, flowers and birds, mozhu, fruits and vegetables. When compiling a painter, the Painting Accompanying, which was made by Xiao Zongdao for three years (1 167), is divided into eight categories: immortals, buddhas, ghosts and gods, biographies of people, landscapes, forests and stones, flowers and bamboos, animals, insects and fish, houses and boats, melons and fruits, vegetables and grasses, and small landscape paintings. These phenomena reflect the expansion of the scope of painting performance and the meticulous division of themes.
Figure painting has made great progress in reflecting real life. From depicting major historical events and aristocratic life in the Tang Dynasty, it has expanded to depicting all aspects of urban and rural civilian life, such as Biography by Wei Xian, Spinning Map by Wang, Riverside Scene at Qingming Festival by Zhang Zeduan, Baby Play in Autumn Court, Merchant Map by Julie, Cattle Drawing by Yan Ciping and so on. Festive paintings depicting urban folk customs in Song Dynasty, such as Sui Dynasty pictures, Wu Rui pictures, Da Nuo pictures and lights-off pictures, also appeared one after another. Paintings depicting the life of noble literati are still very popular, and figure paintings with plots, such as Li's "Elegant Garden" and "Listening to the Piano", also have high artistic achievements. Folk tales are often incorporated into historical story paintings, which show the attitude towards politics at that time in a tortuous way. For example, The Map of Picking the Witches, The Map of Zhu Yun Breaking the Threshold, The Map of Sitting in Yuan Ang, The Map of chain mail in Chen Yuanda, etc., depict the upright and upright people, and the Convenient Bridge Alliance Map, which reflects the correct strategy to solve ethnic problems. It is particularly noteworthy that the paintings depicting the misfortune and sadness brought by the war and the complicated ethnic relations are very popular, such as "Moon Hee Returning to Han" and "Fei Ming Going to Fort", which, like the folk stories at that time, show obvious patriotism and sense of hardship. The rulers of Song Dynasty advocated Taoism and built temples. Although the murals of Taoism and Buddhism lacked the grandeur of the Tang Dynasty, they still maintained a considerable scale. For example, the murals of Jingsuoguo Temple in Rudong, Zhao Ying Palace in Yuqing, Jingling Palace, Wuyue Temple, Baoyu Palace, Yin Ying Temple in Lin 'an in Southern Song Dynasty, West Taiyi Palace, Wusheng Temple, etc. are mostly painted by famous artists in the Academy of Painting. When Zhenzong built the Jade Qing Zhao Ying Palace, it recruited painters from all over the world, with more than 3,000 candidates. When Hui Zong built the Wuyue Temple, he was famous all over the world, and hundreds of applicants showed his talent. Religious paintings in Song Dynasty have a more obvious secularization tendency. Taoist painting attracts the audience with lively scenes and interesting plots, and creates a large number of images of gods, many of which are drawn with realistic characters. Wu Daozi Painting School occupied an absolute position in the murals in the early Song Dynasty, and its artistic style can be seen from the existing mural powder version of The Fairy Map of Yuan Zaju. The quantity and quality of tomb murals in Song Dynasty can no longer be compared with those in Han and Tang Dynasties. The murals of Kaihua Temple in Gaoping, Shanxi, Jingzhi Temple Tower in Zhengding, Taki Palace in Fang Jing, the murals of the Song Dynasty in Dunhuang Mogao Grottoes, and the murals of tombs in Henan are all important remains for investigating the murals of the Song Dynasty. Zhang Jun's Yue Xi Gui Han is an orderly collection. There are two seals on the front end, the Emperor's Book and the Treasure Play Book, and the back end has the seal of Emperor Wanli. It was passed on to the Qing Dynasty and collected in the official residence. The scroll is inscribed by Emperor Gaozong Ganlong: "Song Wenxi belongs to the Han Dynasty", with the words "Inner Temple Appraisal" and the seals of "Shenpin" and "Gan" printed on it. After enjoying the paintings, Emperor Qianlong was still writing poems on the scroll. There are two small seals at the end of the poem: "Bide" and "Langrun". Since then, the picture has been covered with ten pictures of Jiaqing and Xuan Tong, and there are "Liang Qing Biao Yin" and "Bajiaolin Secret Play" on the front water. There are two collections, Cang Yanzi and Jiao Linju, which are printed on the back of Mizunokami.
Cai Wenji, the daughter of Cai Yong in Han Dynasty, was captured by Huns in the war at the end of Han Dynasty and lived there for twelve years. After Cao Cao missed his father's death, he was redeemed by Jinbi. Eighteen Beats of Hu Jia is said to have been written for her. There are many painters who painted "Yue Xi Gui Han" in the past dynasties, many of them have symbols, and they take the meaning from "Eighteen Beats of Hu Jia" and describe them in sections. Zhang Jun's paintings are not. The whole painting takes advantage of the situation, omitting the background, and draws a group of people marching in the wind on the sandy desert in the north with flying lines. The picture is full of ups and downs, and the theme is expressed in a harmonious way between real and virtual scenes. Sagittarius is intuitive and realistic, and sandstorm association is illusory. It is the secret of Chinese painting composition to expand the vast associative space through the taste of physical objects. The picture is very dynamic and there are many places to look at carefully. The clothes, movements and expressions of the characters are in line with their identities.
"The most Miao Yan scenery in painting", due to social concern, landscape painting has gradually jumped to the main position of painting. Many landscape painters go deep into natural mountains and rivers and observe and experience them day and night, so they accurately describe the characteristics of different regions, seasons and climates and pursue beautiful and moving artistic conception. From panoramic mountains, rivers and turquoise to corner scenes with simple brushwork and highly tailored composition, it shows outstanding creations in different periods. The scenery of mountains and rivers is not only the scenery of pavilions, noble gardens and secluded scholar-officials buildings, but also the natural scenery of mountains and rivers in the north and south, interspersed with ordinary life plots such as rollover, grinding water, ferry, shipping, fishing, firewood collection, mule trips, temples and markets, which has a strong flavor of life and reflects a beautiful imagination through real scenery description.
The achievement of painting in Song Dynasty is the pinnacle of the development of painting art in China. It reflects a wide range of real life content, which is extremely prominent in the history of ancient painting. Many artistic expressions closely related to society have been created by using colorful and beautiful artistic forms. Most of the styles and theories in Yuan, Ming and Qing Dynasties can be found in Song Dynasty paintings, which shows that China's paintings are mature and highly prosperous.
There are many important creations in the art of painting in Song Dynasty. Pay attention to the spiritual outlook and touching plot of the characters, and pay attention to shaping the artistic image with distinctive personality. Flower-and-bird painting and landscape painting pursue beautiful and moving artistic conception, pay attention to true and ingenious artistic expression, strive to refine images, and have a high degree of realistic ability. Literati painting can also promote the prosperity and improvement of painting art, and they have made great contributions to the exploration of subjective expression and pen and ink effect. Palace painting has been highly developed on the basis of the prosperity of painting in the whole society, and its artistic achievements can not be ignored.
At present, it is still controversial in academic circles whether The Picture of Snow Scene and Cold Forest is Fan Kuan's original work. It has been a long time. This picture is unknown. The seal and color of Fang Xi, the treasure of imperial books on the map, have the characteristics of Song Dynasty, which shows that Song Dynasty was hidden in the palace. From then on to the Ming Dynasty, I didn't know where I lived. In the late Ming and early Qing dynasties, it was collected by collector Liang Qingbiao. Zhu Yin's "Banana Forest" and "Banana Forest Collection" are two, and the white "Overview" is one. Later, it was included in Moguan, including two white seals of Anyizhou Painting and Calligraphy Seal, Siyuantang and one Zhu seal of Footprint. At about the same time, there was a book "Treasure of Qianlong Imperial Book", which showed that this painting was collected by the Qing Palace. When Eight-Nation Alliance invaded Beijing, he lived among the people and was bought by collector Zhang Yi. Today, there are two seals: the collection of Liu Yi, the secretary of Zhu, and four poems by the secretary of Bai. This painting depicts the magnificent snow-capped mountains in the north. In the painting, the snow peaks stand upright, the mountains are towering and covered with snow. In the cold forest in the deep valley, the Xiao Temple is hidden deep, with no waves of running water and thousands of clouds between the peaks and valleys. Its mountains hover high, its level is quiet and concise, and its tree paintings are deep and cold. From this picture, we can realize that the author is not limited to the style of carving, but divorced from the real landscape, expressing a tendency to write blocks in his chest and convey the meaning of mountains and rivers.
Li, Su Shi, Wen Tong, Mi Fei and others are the representatives of painting in Song Dynasty. In art, we try to wash away the lead, tend to be simple and elegant, and advocate the innocent and fresh style. The calligraphy of Cai Xiang, Su Shi, Huang Tingjian and Mi Fei, which appeared in the middle and late Northern Song Dynasty, really established the unique style of calligraphy in the Song Dynasty. In the history of calligraphy, these four people are called the four schools of Song Dynasty. Most of the calligraphy in the Southern Song Dynasty can't jump out of the barriers of Huang Tingjian and Mi Fei, and their achievements are far less than those in the Northern Song Dynasty. They lack a calligrapher who leads a generation of coquettish and far-reaching influence. Silk books. Fine brushwork coloring. There are 14 kinds of flowers, such as Shouchunhua, Catharanthus roseus, Lotus, Xishilian, Orchid, Wang Xianhua, Abelmoschus manihot, Plum Blossom, Sophora japonica, Lotus Peach, Ganoderma lucidum, and 3 kinds of flowers, such as Sky, Red Sun and Xiangyun, which are divided into 17 paragraphs, each with one poem. Painting style for the Southern Song Dynasty courtyard, colorful, simple painting. The scenery was painted by Ma Yuan, and the flowers were painted by Marin. Poems in small letters are rigorous and beautiful, charming and colorful. There is a poem inscribed by the author in front of the picture scroll. Postscript of the Ming dynasty after the roll. Liang Qing Qing Biao, Qing Neifu, near Zhang Boju Collection. The first edition of shiqu Baodi, calligraphy and painting, cong bi calligraphy and painting are recorded.
Zhang Zeduan's "The Riverside Scene at Qingming Festival" is an outstanding genre painting in China at the beginning of12nd century, which depicts various activities in the suburbs of Bianjing during Qingming Festival. It is not only rich in content and refined in brushwork, but also has profound social significance and important historical document value. As for the content scene of the picture, readers can understand it by looking at the picture, so I won't say much here. As far as its composition art is concerned, the author uses the "bird's eye view method" used by ancient painters in China to express such rich content; More importantly, the author observes the characteristics of social life and everything, and has a keen and profound image memory and excellent organizational composition skills. As for the vivid expression of characters, the concise and smooth brushwork of tree-lined lines and the exquisite harmony of realm paintings, the author's comprehensive cultivation in figures, landscapes and pavilions can be seen. It combines the superb skills of various paintings in the Song Dynasty into one picture, which is complicated and changeable, and it is easy to be complicated. Especially through careful observation and detailed description, we can appreciate the numbers one by one. As for the ideological content, it deserves more attention. It shows the social customs and lifestyle at that time, and focuses on the traffic situation of Bianhe River as the lifeline of traffic at that time and the hard life of workers. This is really a treasure of China's ancient paintings. This painting does not have the author's signature, because the inscription of Zhang Zhu in the Jin Dynasty after painting shows its author and life. Zhang Zeduan's painting name is not in the "Xuan He Hua Pu", so there are different reasons for doubt. For example, Lu Wan said in the postscript that "Xuanhe's paintings and calligraphy works are dedicated to Cai Jing", and Beijing raped dissidents with power. Therefore, Zhang is not in the picture, but Zhang is not in the book. This is very correct. The silk scroll in the Northern Song Dynasty is 48.5 cm long and 70 cm wide. It is collected by the National Palace Museum in Taipei.
Draw a scene of ladies-in-waiting feasting and playing music in the palace. Four people are playing the flute and the piano, and playing the flute and the Zheng. A maid knocked on one side of the board. The other five people drink and enjoy music, and their postures are different. Bright colors and delicate lines. The characters are slightly plump. This painting has no seal. It is a copy of the works of the Tang Dynasty in the Northern Song Dynasty. Ladies' looks, costumes and utensils are all Tang-style, but their writing skills are weak and their expressions are dull, which is obviously caused by copying. Paper and ink pen for rolling plum in Northern Song Dynasty
Song Li Night Tide Map Anyone who has read the meticulous prose "Watching Tide" in the Southern Song Dynasty will sigh for the spectacular description of Qiantang tidal bore. The Night Tide Map by Song Li, a contemporary painter in the Southern Song Dynasty, also depicts this magnificent landscape from the perspective of plastic arts. The picture should be the Mid-Autumn Festival evening on August 15. The bright moon is clear as water, but you can see the tide surging in through the ridge railing of the high pavilion, such as "Yucheng Xuefeng, come the next day". In composition, the author does not take a "panoramic" approach, but only paints from a corner of the palace garden, which is a typical landscape style of the Southern Song Dynasty. In the treatment of moonlight, we can also see the author's intention. The author didn't use a dark style to express the moonlight pouring, but used the unusual silence in the palace to reflect the silence of the moonlit night. The description of the waves is particularly wonderful. The author combines the truth of details with poetic ethereal spirit, outlines, renders and sets off rough waves with concise and smooth brushwork and mellow ink color, supplemented by transparent light color, and ripples in the moonlight. At the bottom left of the picture is "Minister Song Li", and at the top of the picture is a book of Kun Gua, titled "Shut the door and close the key, and see you in the night tide."
Li (A.D. 1049- 1 106) was born in Shucheng (now Anhui). In the third year of Xining (AD 1070), he was a scholar, good at painting and calligraphy, especially famous for drawing horses. Good at painting, unique style. Five famous horses in the western regions painted in Tianqi prison in the early Song and Yuan Dynasties were crowned, embroidered, headed, white at night and full of white flowers in turn. Everyone has an Xi official or a person. This painting has no seal of the author. After the first four horses, Huang Tingjian inscribed their names, places of origin, ages and sizes. There is a yellow postscript to Li at the end of the volume. Because the fifth horse (Manchuanhua) has no inscription-Huang Tingjian, some people suspect that a paragraph of Manchuanhua was not written by Li, but was added by later generations. Draw five horse officials. These two are Han Chinese and Yuma foreigners. Different shapes, costumes, expressions. Except for local baking and dyeing, they are all drawn by single line. The brushwork is fine and changeable. Describe the roundness and elasticity of the horse's temple back. The brushwork is simple and vigorous, and the famous horse he painted is both Wen Xiu and Shen Jun, which is a famous horse in the Song Dynasty.