After the Anshi Rebellion, although the national situation in the Tang Dynasty gradually declined, the art of painting continued to develop and improve. Zhou □ has made creative contributions in the creative practice of ladies' pictures and religious murals. Wang Wei, a poet born in the mid-Tang Dynasty, is also famous for his paintings. He is good at landscapes and is famous for his ink and wash landscapes. Zhang, Wang Zai, Xiangrong and Bi Hong are all famous landscape painters. Bian Luan, Liang Guang, Diao Guangyin, Teng Chang □ are good at flowers and birds, Han□ and are good at drawing cows, while Jong Li and his son painted "Fanren, Fanma" with the hunting of ethnic minorities as the theme, all of which are wonderful. In the middle and late Tang Dynasty, a war broke out in the Central Plains. Xuanzong and Xuanzong entered Sichuan to avoid chaos, and some painters also entered Sichuan one after another. After the middle Tang Dynasty, Chengdu, Sichuan gradually became one of the painting centers. Famous painters in the Central Plains who entered Shu are Lu□ Jia, Chang Kui, Lu□, Zhang Xun and so on. Many painters left their paintings in Chengdu Dashengci Temple and other temples. Diao Guangyin and others set up accounts in Sichuan as apprentices, and some painters also brought copies of Chinese original paintings. Under the influence of Central Plains painting art, Zuo Quan, Zhao Gong, Gao Daoxing, Fang Congzhen, Ma Juli and other masters of religious painting emerged in Sichuan. Therefore, "although Shu is far away, there are more painters than four directions", which laid the foundation for the prosperity of Western Shu painting in the Five Dynasties.
It was also at this time that paintings in the south of the Yangtze River developed. Zhu Shen is famous for his fantastic landscapes, and the scroll is a barrier. Zhang is more famous for his mountains and rivers. Smoker Zhang wrote his own fishing songs and painted them into scrolls; Gu Kuang is also famous for its mountains and rivers. Li Deyu guarded Zhejiang, collected good paintings and recruited painters. When Wuzong destroyed the pagoda of Tianxia Temple, he concentrated the paintings of famous temples in the south of the Yangtze River in Kanluo Temple in Zhenjiang, including paintings by Wu Daozi, Wang Zi, Zi Han and Gu Kaizhi, Zhang Sengyou and Zhan Ziqian in the Tang Dynasty, which became a gallery for collecting famous works. The painting in Sui and Tang Dynasties was magnificent and brilliant, which had a great influence on the development of painting in the Five Dynasties.
The prosperity of painting in Tang dynasty promoted the development of painting history theory, and the achievements of collecting, recording and writing of painting history theory also greatly exceeded those of the previous generation. Some emperors in the Tang Dynasty were keen on painting. When Emperor Taizong and Emperor Xuanzong visited the envoys of painting and calligraphy many times, they all accepted folk paintings and calligraphy, which were collected by the imperial court, and the number was quite large. Sima Douzan, Xue Ji, Chen Hong, Han Yu, Pei Du, Li Deyu, Zhang Yanyuan's great-grandfather Zhang and other aristocratic literati are also rich in collections. Li Bai, Du Fu, Bai Juyi and other poems have repeatedly involved praise for calligraphy and painting. It can be seen that there was a strong interest in painting at that time. Painting criticism works in Tang Dynasty include Yan □ After Painting, Li Sizhen's Continued Painting, Zhang Huai □ Painting Broken, Dou Meng's Painting Collection, etc. Pei is a calligrapher of the times. He collected the famous paintings of the previous generation and the painted walls of Buddhist temples in public and private places, and wrote a book "Zhenguan Public and Private Paintings". Zhu Zong-shi, a bachelor of Hanlin, collected 97 painters since the early Tang Dynasty, described their lives and artistic activities, and commented on them, retaining a large number of historical materials of painters in the Tang Dynasty, which has the nature of dynastic history. Zhang Yanyuan's Famous Paintings of Past Dynasties, which was completed in the first year of Dazhong (847), is the earliest existing masterpiece of painting history. This book collects biographies of 372 painters from ancient times to the first year of Huichang (841). There are 16 painting comments in front of the book, which expounds the author's aesthetic views on painting art, records the academic origin of painters, the general situation of landscape painting development, painting collection, temple painting, etc., and preserves precious historical materials of paintings in past dynasties. In the third year of Huichang, Duan recorded the situation of Chang'an Temple, especially the murals and other artworks, which were written into the Story of Temple Pagoda (included in the sequel of Youyang Miscellanies) and the section of "Painting a Wall on Shuangcheng Temple" in the Story of Famous Paintings of Past Dynasties, which provided vivid and concrete information for understanding and studying the mural art in the Tang Dynasty.
Song Dynasty painting is China's painting works in Song Dynasty. China Song Dynasty lasted for more than 300 years, and its painting continued to develop on the basis of Sui, Tang and Five Dynasties. Folk painting, court painting and scholar-bureaucrat painting are self-contained, influencing, absorbing and infiltrating each other, forming a colorful face of painting in Song Dynasty.
The unification of the Northern Song Dynasty eliminated the division and estrangement caused by feudal separatism. For a period of time, the society maintained a relatively stable situation, the commercial handicraft industry developed rapidly, and the urban layout broke the strict boundary between the square and the city, resulting in unprecedented prosperity. Although the Southern Song Dynasty was partial to the south of the Yangtze River, a large number of northerners and southerners moved south to develop the south of the Yangtze River, and the economy and culture continued to develop and surpassed the north. Cities such as Bianliang in the Northern Song Dynasty (now Kaifeng City, Henan Province) and Lin 'an in the Southern Song Dynasty (now Hangzhou City, Zhejiang Province) enjoyed commercial prosperity. In addition to the gathering of nobles, there are a large number of businessmen, craftsmen and citizens. Urban cultural life is unprecedentedly active, the demand for painting has increased significantly, and the clients of painting have also been expanding, providing material conditions and mass basis for the development and prosperity of painting.
Painting in Song Dynasty entered the commercial ranks of handicraft industry and established close ties with more people. A group of skilled professional painters sell their works as commodities in the market, and both Bianjing and Lin 'an have paper painting industries. Bianjing Suoguo Temple holds temple fairs five times a month, and department stores gather, including stalls selling books and paintings. Lin 'an Night Market in the Southern Song Dynasty also sold fine painting fans and plum and bamboo fans. Restaurants in Bianjing and Lin 'an also beautify their shops by hanging calligraphy and painting as a means to attract customers. When people hold festive banquets, they can rent screens, painting accounts, calligraphy and painting furnishings, etc. In order to meet the needs of the New Year Festival, seasonal paintings such as Door God and Zhong Kui were sold at the end of the year, which brought great prosperity to the city. In the Northern Song Dynasty, Liu Zongdao, a painter who was good at painting "Baby in a Pot" in Bianjing, had to draw hundreds of pictures every time he created a new manuscript and sell them in the market once to prevent others from copying them. Zhao Loutai, who is good at painting pavilions; Du Haier, who paints babies, is also famous in Bianjing. Yan Wengui, a soldier from Xing Wu, often sells paintings in Qiao Zhou, Bianjing. Yangwei, Jiangzhou, Dengaku, a well-painted village, every time a Bianjing dealer buys a painting, ask him to sell it at the gate of the painting academy, which can fetch a high price. The social demand for painting and the active creation of folk professional painters are important factors to promote the development of painting in Song Dynasty. The development of handicraft industry in Song Dynasty promoted the development and popularization of block printing. Bianjing, Lin 'an, Pingyang, Chengdu, Jianyang and other lettering centers appeared. Many books and Buddhist scriptures are accompanied by prints and illustrations. The existing Maitreya Buddha statue, the Maharani Sutra, the Buddhist Zen master Manjusri's guide, Zhao Chengzang and so on. Song and Jin carvings show their exquisiteness.
In Yuan Dynasty painting, literati painting occupied the mainstream of painting. Because there was no painting academy in the Yuan Dynasty, except for a few professional painters who directly served the imperial court, most of them were literati painters in high positions and literati painters in opposition. Their creation is relatively free, and they express their living environment, interests and ideals. Landscape, dead wood, bamboo stone, Mei Lan and other themes appear in large numbers, and the number of figure paintings that directly reflect social life decreases. The works emphasize literariness and pen and ink charm, attach importance to painting with books, and attach importance to the combination of poetry and calligraphy.
/kloc-At the beginning of the third century, Mongolians rose in Saibei and their national strength grew stronger. 1234, they destroyed the gold and obtained the original place of North China of the Jin Dynasty. 1279, the Southern Song Dynasty was destroyed, China was unified, and the Yuan Empire centered on Dadu (now Beijing) was established. At the beginning of the Yuan Dynasty, there was a big gap between Mongolian rulers and Central Plains literati in education level, cultural and artistic accomplishment and so on. In order to further consolidate their rule, they treated Confucian officials with courtesy, attached importance to China culture, and learned the way of governing the country from Confucian classics. Kublai Khan, the ancestor of the Han Dynasty, was brilliant. He made great efforts to recruit talented people, collected "the legacy of Jiangnan", reused Han Confucian ministers, and ordered Han literati to educate the royal family and Mongolian ministers and disciples on Chinese culture. To Renzong and Wenzong Chao (13 12 ~ 1332), they further "respected Confucianism and valued Taoism", treated literati with courtesy, and especially liked the art of calligraphy and painting. Wenzong established Zhang Kui Pavilion, appointed Ke, a painter and collector of calligraphy, as a doctor of calligraphy, and appraised the calligraphy and painting collected by Neifu. Therefore, literate Sect is the most prosperous calligraphy.
In Yuan Dynasty painting, literati painting occupied the mainstream of painting. Because there was no painting academy in the Yuan Dynasty, except for a few professional painters who directly served the imperial court, most of them were literati painters in high positions and literati painters in opposition. Their creation is relatively free, and they express their living environment, interests and ideals. Landscape, dead wood, bamboo stone, Mei Lan and other themes appear in large numbers, and the number of figure paintings that directly reflect social life decreases. The works emphasize literariness and pen and ink charm, attach importance to painting with books, and attach importance to the combination of poetry and calligraphy. He inherited the theory of literati painting from Wen Tong, Su Shi, Mi Fei and others in the late Northern Song Dynasty, and advocated seeking God from the shape, putting simplicity first, pursuing ancient meaning and morale, and attaching importance to the expression of subjective interest. It is quite different from the deliberate pursuit of works and the emphasis on modeling in the Song Dynasty, which has formed a distinctive style of the times and also effectively promoted the vigorous development of literati painting in later generations. During the short period of more than 90 years in Yuan Dynasty, many famous painters appeared, among which Zhao Mengfu, Qian Xuan, Li□, Gao, Huang, Zhenwu, Ni Zan and Wang Meng were the most famous.
The painting style of Ming Dynasty changed repeatedly, and the painting school flourished. In the category and theme of painting, traditional figure painting, landscape painting and flower island painting are popular, and the plum, orchid, bamboo and miscellaneous paintings painted by literati ink operas are also quite developed. As far as art schools are concerned, there are many painting schools that are geographically centered or differentiated by style. Academically, there are mainly court painting schools and Zhejiang painting schools that inherit the painting style of the Southern Song Dynasty, and Wumen School, Songjiang School and Susong School that develop the tradition of literati painting. In terms of painting methods, ink landscape and freehand brushwork flowers and birds have flourished and made remarkable achievements, and figure painting has also appeared unique new features such as deformed figures and ink bones painting portraits. In addition, folk painting, especially printmaking, flourished in the late Ming Dynasty.
The development of Paintings of Ming Dynasty can be roughly divided into three stages: early stage, middle stage and late stage.
Early painting
From Hongwu (1368 ~ 1398) to Hongzhi (1488 ~ 1505). Palace painting and Zhejiang painting in the Ming Dynasty prevailed in the painting world, forming a trend of the times, which mainly inherited and carried forward the style of college painting in the Southern Song Dynasty. The court painting in Ming Dynasty inherited the Song system, but there was no special painting academy. Many painters recruited by the imperial court are managed by the imperial court, and the Royal Guards Wu Zhi awarded more. The history of painting calls them painters of the Academy of Painting, but they are actually court painters. Hongwu and Yongle (1403 ~ 1424) are in the initial stage, with imperfect institutions and styles that continue the old appearance of the Yuan Dynasty. From Xuande (1426 ~ 1435), Chenghua (1465 ~ 1487), Hongzhi (1488 ~ 1505), etc. After (1506 ~ 152 1), Wu Pai rose and gradually replaced it. In the Ming Dynasty, the palace paintings were dominated by landscapes, flowers and birds, and the figure paintings were relatively narrow, mainly depicting the portrait of the queen, the royal martial arts and the king's courtesy. Such as Le Tu of Ming Xuanzong of Shang Dynasty, Xing Yuan Tu of Shang Dynasty, Pang Tu of Ni Duan, Visiting Pu Tu on a Snowy Night, etc. The patriarchal clan system of landscape painting is mainly in the Southern Song Dynasty, and Xia Gui and Guo are also the research objects. Famous painters include Li, Wang Wei, etc. Li's imitation of Guo can almost confuse authenticity, and Wang Wei is called "Ming Dynasty". Flower-and-bird painting presents a variety of faces, representing the painter Bian Jingzhao, good at meticulous painting, inheriting the tradition of the Southern Song Dynasty, elegant and rich in business. Sun Long, out of Xu Chongsi in the Northern Song Dynasty, specializes in bone removal. Liang Lin is famous for his freehand brushwork of flowers and birds, his brushwork is bold and unrestrained, and his modeling is accurate and vivid. Lu Jigong's combination of writing and writing, beautiful flowers and birds, thick water and stone, is unique. Although the palace painting in Ming Dynasty did not achieve epoch-making achievements like the courtyard painting in Song Dynasty, it also made new breakthroughs in some aspects.
Dai Jin's artistic expression of imitating Yan Wengui's landscape painting, in which the rocks are dyed together and the ink is dyed together, makes the picture present a state of smoke and neon, which just shows the natural scenery of Jiangnan. The layout of this painting is smooth, the pen is round, and the clever use of light ink makes the picture attractive to Shu Ya. The foreground is dotted with thick ink and lined with thatched rafters, which form the visual center of the picture with the small bridge and little figure on the right side of the stream. Some scholars overlook the house, some scholars look for sentences on the small bridge, and after being served by extremely talented people, there are a group of leisurely literati. The peaks and slopes in the picture are boneless, while the houses and trees in the visual center are drawn with lines in the center, which forms a strong artistic contrast. From near to far, the picture is distinct and full of space, showing readers an ethereal and lofty realm. In the picture, the self-paid "Qiantang Daijin wrote a letter to the teacher to clear the confession" printed two seals. There is a sketch by Dong Qichang in the upper right corner: "Dai Jin is the most important figure in the history of China painting, and his major is Yan Wengui. Indifferent emptiness is unique. " So it was named after imitating Yan Wengui's landscape. In fact, imitating Yan's family is not entirely true, but it just points out the "unusual" characteristics and artistic conception of this painting. Daijin landscape, mainly from the Southern Song Dynasty. Wang Mingshizhen said: "The source of its landscape comes from Guo, Zhou and Xia Gui, but beauty is spontaneous." In fact, Dai Jinshi studied with four schools in the Southern Song Dynasty, and also dabbled in Guan Tong, Dong Yuan, Fan Kuan, Mi Fei and other schools, which made his landscape paintings both vigorous and gloomy, thus forming his own unique artistic style. Imitating Yan Wengui's landscape is such an ingenious and refreshing masterpiece.
Shen Zhou's Sleeping Tour Map has 17 pages. At the beginning of the album, the author wrote the word "lying and swimming" in his own words, which was vigorous and healthy. In the future, we will draw them in turn: imitating Yunlin landscape (ink painting), apricot blossom (color painting), hollyhock (color painting), autumn willow cicada (ink painting), Pingbo animal husbandry (color painting), gardenia (color painting), autumn scenery landscape (ink painting), hibiscus (color painting), loquat (color painting) and Qiushan reading. Every painting has poems or words inscribed by the author.
At the end of the opening paragraph, there is a postscript saying: "Zong Shaowen (Zong Bing) reveals a landscape picture all around, claiming to lie and swim in it. You can lie on your back in bed, holding it in one hand and reading it slowly in the other. It's extremely interesting. You can cover yourself when you are tired. It's not easy, but it's also very tiring to expose it by hand! It is foolish to hear what he said and then laugh. "The preface, paintings, poems and postscript of the book become a unified whole, showing the same interest, intoxicated with simple natural beauty and beautiful things, comfortable and happy. The picture shows the "Jiangshan Sitting Talk" in Sleeping Tour. It is one of the seven landscapes in this album. The close-up in the picture is concentrated in the lower right corner of the picture. In the shade of a stream, two nobles sat opposite each other and talked with Kan Kan. Three trees at different points are patchwork, echoing the left hillside; The houses in the distance are looming, looming; The smoke from the distant mountains is curled up and the structure is elegant. Title: "Jiangshan is talking about the handle, sitting relatively in the clear autumn; With such a clear mind, the West Lake recalls the past. On the side of Shen Zhu, the word "Qin An" is engraved. Shen Zhou's masterpiece in his later years. In this picture book of Shen Zhou, there are ten flowers besides seven small landscapes. Among them, "Autumn Willow Singing Cicada" draws willow branches with light ink, cicada body and feet with thick ink, and cicada wings with extremely light ink, which is thin and transparent; "Loquat Map" is well-cut, fluent in brushwork, rigorous in structure and elegant in color, all inspired by Shen Zhou.
Zhejiang School, represented by Dai Jin and Wei Wu, was active from Xuande to Zhengde. Because the founder Dai Jin is from Zhejiang, he is known as Zhejiang School. Wei Wu was born in Jiangxia (now Wuhan), Hubei Province. His painting history is also called Jiangxia School, which is a tributary of Zhejiang School. Both Dai and Wu have been to the court, and their painting styles also originated from the courtyards of the Southern Song Dynasty, so Zhejiang School has a close relationship with court painting. As professional painters, Dai Jin and Wei Wu have exquisite painting skills and comprehensive techniques. They are good at landscapes and figures, and their achievements in landscape painting are particularly outstanding. But their styles are different. Dai Jin changed a vigorous body in the Southern Song Dynasty, but he was still cautious. Wei Wu wins with simplicity, boldness and magnificence. Critics say that he "originated from Jin Wen (Dai Jin), and his brushwork is more relaxed." He is not good at this. He is simple and simple, above Jin Wen. " Dai Jin's company with Wei Wu influenced a large number of painters inside and outside the courtyard. Followers include Zhang Lu, Song Jiang, Wang Zhao, Li Zhu, Zhang Qian and others. Zhang Lu's landscape painting is dripping with ink, while figure painting is good at being beautiful and free and easy. Song Jiang made good use of Jiao Mo, and his brushwork was simple. Wang Zhao's works are turbulent. Li Zhu learned from Wei Wu's brushwork and became the Jiangxia School of Painting. In the later period of Zhejiang School, people blindly pursued simplicity and recklessness, and it was difficult to change old habits, and it was difficult for old habits to become disadvantages. At the end of Ming Dynasty, Lan Ying was called "Zhejiang School Temple Army", but in terms of his knowledge and painting style, it had nothing to do with Zhejiang School.
In the early Ming Dynasty, there were a number of literati painters in Jiangnan who inherited the tradition of ink painting in Yuan Dynasty, such as Xu Ben, Wang Bi, Liu Jue, Du Qiong and Yao Shou. Xu Ben's landscape is inherited from Dong Yuan and Ju Ran, and its brushwork is vigorous and beautiful. Wang Bi-xi is known as the "pioneer" of the Ming Dynasty, because he likes to make landscapes with pima folds, which are as complicated and beautiful as Wang Bi and Mozhu. Liu Jue is deep in landscape and rich in brushwork, close to Wang Meng and Zhenwu. Du Qiongshan's ink painting is pale crimson landscape, dyed with dry pen. Yao Shouzhu should learn Zhenwu and Wang Meng, and his style is light and thick. Their painting style is a pioneer of wu school.
There are also some painters who have made their own achievements although they have not returned to the Sect. For example, he first lived in Ma Yuan and Xiagui, and later drew the famous Huashan map Wang Lu from nature; Zhou Chen, known as the school, had a great influence on Tang Yin and Chou Ying. Guo Xu and Shi Zhong who are good at freehand brushwork figures and landscapes; Du Jin and others are famous for their character sketches.
Mid-term painting
From around (1506 ~ 1522) to Wanli (1573 ~ 1620), Wu Pai, represented by Shen Zhou, mainly inherited the tradition of literati painting in the Song and Yuan Dynasties and became the mainstream of painting.
In the middle of Ming Dynasty, Suzhou, as the center of textile industry, gradually became a wealthy metropolis in the south of the Yangtze River with the development of industry and commerce. Economic development has promoted the prosperity of culture. At one time, there were many celebrities, and literati and celebrities often gathered for banquets, poetry and songs. Many literati who travel around the mountains also amuse themselves by painting and shirk each other. They inherited and developed the painting tradition of Yuan Dynasty, among which Shen Zhou, Wen Zhiming, Tang Yin and Chou Ying were the most famous, and their painting history was called "Wu Men". The school of painting they started was called wu school or Wu Pai. Shen Zhou and wu school are the main representatives. Both of them are not as good as literati, and belong to local celebrities with excellent poetry and calligraphy. They all inherit the tradition of literati painting in Song and Yuan Dynasties, and are also good at several painting themes, but mainly landscape painting. Their works mostly describe the scenery in the south of the Yangtze River and the life of literati, express elegant feelings, pay attention to brushwork and pen and ink interest, and pay attention to the organic combination of poetry and books. Their origins and interests in painting are similar, but they also have their own specialties and characteristics. Shen Zhou's landscape is dominated by rough ink painting and light crimson painting, which is quiet and peaceful and has a strong spirit. Flowers, wood and stone are also good at freehand brushwork in ink painting, and their works mainly win with momentum. Wen Zhiming is dominated by meticulous landscapes, making good use of green and heavy colors, with meticulous and beautiful style and more lyrical interest. Zhu Lan is also chic and clean. Tang Yin and, unlike Shen Zhou and, represent another type of Wu Pai. Tang Yin changed from a scholar to a professional painter who made a living by selling paintings, while Qiu Ying was a professional painter. Influenced by literati painting in his creation, his techniques are comprehensive and exquisite, and his theme and interest are more suitable for the requirements of urbanites. They studied under Chen Zhou, and Chen Zhou's painting method originated from Liu Songnian and was influenced by Shen Zhou, Northern Song Dynasty and Yuan Dynasty. They depict fine and real objects, and also attach importance to the creation of artistic conception and the meaning of pen and ink, which has the artistic effect of appealing to both refined and popular tastes. Tang Yin's landscape paintings are mostly ink and wash, and there are two ways: ① Take Li Tang and Liu Songnian as examples, and their styles are vigorous and vigorous; ② Fine brushwork, round and elegant in style. Portrait painting is written in hours and hours, meticulous and colorful ladies inherit the tradition of Tang and Song Dynasties, fine and beautiful, and ink painting figures are like Zhou Chen, simple and relaxed. Chou Ying benefited from copying his predecessor's name. He is gentle and good at coloring. He is famous for his green scenery and meticulous figures. Xu Wei's Grape Map is an important work in this sense. In this picture, the grapes are written in pure ink, smeared and dyed at will, depending on the temperament. The vines droop. With the freehand brushwork method of full water, the grape branches and leaves are stippled and the ink is smooth. The crystal clear feeling of grape beads is dripping and hearty. It can be regarded as a typical tendency of splashing water in painting.
The outstanding artistic achievements of the Wu family had a great influence at that time, and many scholars learned from them. The surname of Shenzhou clan includes Wang Lun, Du Jilong, Xie, etc. Wang Lun is a disciple of Shen Zhou, who is old and heavy. Du Jilong slightly changed the method of Shen Zhou, and Xie won with momentum and grand realm. No fewer than twenty or thirty people followed, including Wen Jia, Wen Boren, Qian□, Chen Chun, Lu Shidao and Zhou. Literati's landscape is simple, Wen Boren is meticulous, strong and steep, and money is heavy. Chen Chun's brushwork is freehand, and Lu Shidao's meticulous brushwork is good at Zhou. Every school has its own characteristics. Wu school Zhong, Chen Chun and Zhou Zhimian have made great achievements in flower-and-bird painting. Lu Zhi is a student in Wen Zhiming. His flower-and-bird paintings combine the strengths of Xu Xi and the Yellow School, creating a new style of literati meticulous flower-and-bird painting, with delicate brushwork and elegant colors, which is called Yan Li School. Chen Chun is also from a school in Wen Zhiming. Influenced by Shen Zhou, flower-and-bird painting inherited the ink freehand brushwork technique, developed in modeling, pen and ink release, emotional ups and downs, and opened Xu Wei's freehand brushwork school, which was called Xu Wei. Influenced by wu school, Zhou Zhimian combined the strengths of Chen Chun and created a kind of small freehand brushwork called "sketching the leaf body". Wu Pai developed to the end of Ming Dynasty, and its position was replaced by Dong Qichang and his school. They found another way and advocated literati painting.
Late painting
From Wanli to Chongzhen (1628 ~ 1644), there has been a new turning point in the field of painting. Xu Wei further improved the freehand brushwork of flower-and-bird painting. Chen Hongshou, Cui Zizhong, Ding et al. Created a method of drawing deformed graphics. Suzhou painters, represented by Zhang Hong, found a new way in literati landscape painting and created works full of life flavor. They innovate on the basis of inheriting Wu Pai's painting style and characteristics, return to nature, sketch in Shan Ye, learn from nature, and understand the true meaning of painting. Reflect the transcendental spiritual realm in the painting, and make the landscape painting come alive.
Xu Wei is a great master who has fundamentally completed the reform of freehand brushwork flower-and-bird painting in ink and wash after Chen Chun. His painting style has strongly promoted the development of freehand brushwork flower-and-bird painting in later generations, and he is known as the Ivy School in the history of painting. His flowers and birds absorbed the advantages of Song and Yuan Dynasties, Shen Zhou, Lin Liang and Chen Chun, and made great innovations. On the subject matter, he boldly broke through the limitations of the pictographic nature of objective things and endowed them with strong personal feelings. His works are lyrical, or used as an excuse, which is opposite to the quiet and elegant taste of the literati paintings of Wumen Sect, and directly expresses his turbulent state of mind, which has produced a shocking artistic appeal. In artistic form, he is good at splashing ink, indulging himself with the brushwork like weeds, with a slightly similar image, pursuing verve, moist ink color and unrestrained flow, giving full play to the smudge effect of raw rice paper. This kind of casual painting is magnificent and reckless, which appropriately expresses the painter's passionate and angry feelings. Xu Wei's painting style had a far-reaching influence on Zhu Da, Shi Tao, Eight Eccentrics in Yangzhou, Shanghai School and even modern Qi Baishi in Qing Dynasty.
Figure painting in Ming Dynasty was developed among figure painters, especially among folk painters, and it was in full swing in the late Ming Dynasty, among which Zeng Whale was a representative painter with innovative spirit. His portraits emphasize ink bones, that is, outline the five senses with light lines, render the light and dark bumps with light ink, and then bake and dye dozens of layers with color, and then stop at ingenuity. This kind of painting is full of three-dimensional sense, which may be influenced by the newly introduced western painting at that time. Shiduo, then formed the Bo School, which influenced until the Qing Dynasty.
The late Ming Dynasty was the most prosperous period in Wu Pai. They attach importance to inheriting the tradition of ancient pen and ink, and regard the pursuit of style as an important purpose of art. Moreover, because of their profound cultural accomplishment and their own aesthetic pursuit, they are also creative. Their pen and ink skills and expression techniques had a great influence on the later painting circles. A number of outstanding painters have emerged, and Zhang Hong is one of them.
Zhang Hong (later 1577~ 1652) was named Regal River. Wu (now Suzhou, Jiangsu) was born. In the seventh year of Emperor Kangxi of Qing Dynasty, Zou Zhe dated his landscape and learned that he lived to the early Qing Dynasty. Zhang Hong studied under Shen Zhou and attached great importance to sketching. His works have sharp brushstrokes, moist ink and wash, mountains and mountains, and deep mountains and valleys. His paintings are characterized by stained stone surfaces. He can also draw freehand brushwork figures, with good form and spirit, and is the backbone of Wumen painting circle in the late Ming Dynasty. According to historical records, Zhang Hong is 92 years old and still painting.
Zhang Hong is not only an outstanding literati painter, but also a professional painter with superb painting skills and professionalism. His paintings are meticulous, not excellent but not out of date. It is admired by later generations and respected by Wuzhong scholars. His paintings inherited Wu Pai's style and characteristics, created on the basis of sketching, absorbed the true meaning of painting, reflected the spiritual realm of the other in painting, and made the original plain landscape painting come alive. The overall picture of his paintings is profound and elegant, the rocks are hard to knock, and the water is clear and trickling down, which injects spirituality into calligraphy and painting and makes people feel separated from the world. His landscape paintings set off an extraordinary atmosphere by rendering, giving people an immersive feeling, as if they were in a picture scroll. The picture is fresh and elegant, the atmosphere is harmonious, the mountains and peaks are strange, the ancient trees are dense, the breeze is flying, and the artistic conception is ethereal and clear.
The most famous landscape painting in the late Ming Dynasty is that Wu Pai entered its heyday here. It has a profound influence on other painting schools, among which Mo, a famous painter, is a close friend of Chen Jiru, and Zhao Zuo often writes for him. They are all leaders of Songjiang School. Gu Zhengyi founded Hua Tingpai, and Dong Qichang was inspired by him in his early years. Now he is also a giant. Shen studied under the Song Dynasty and was also a ghostwriter of Dong Qichang. He was called Pai. In addition, the later painters influenced by Wu Men were Cheng Jiasui, Li, Bian Wenyu, Shao Mi and others. Cheng Jiasui's landscape is simple, Li is handsome, Bian Wenyu is delicate and graceful, Shao Mi is elegant, and there are two styles: dry pen and smooth.
In addition to Susong area, there were many regional landscape painting schools in the late Ming Dynasty. For example, Lan Ying of Qiantang, Zhejiang Province founded Wulin School, Xiaoyun of Wuhu, Anhui Province founded Ancient Books School, Xiang and Xiang Shengmo of Jiaxing, Zhejiang Province founded Jiaxing School, and Zou Zilin and Yun Xiang of Wujin, Jiangsu Province founded Wujin School. Most of these schools have little influence. At the end of Ming Dynasty and the beginning of Qing Dynasty, there were many schools of landscape painting with complicated relationships, but most of them were influenced by Wu Men School and Dong Qichang, belonging to the literati painting system.
The ink painting of Ming literati was also very developed. , Wang Bi, Xia□ and thus became famous, Sun Yiji and became famous for Mo Mei, and Zhou became famous for Mo Lan. Among them, mozhu was called the first in summer. The story of Chen Zi and Su Wu herding sheep in the snow of Beihai during the period of Emperor Wu of the Han Dynasty is a common theme in China's historical figure paintings. -Generally depicting Su Wu holding an envoy, sitting or standing, with a quiet posture and a gentle expression. This picture is different. Su Wu's face slightly crooked, looked at Han Ke agley. His sleeves arched on his chest, not only supporting the joints, but also hanging a sabre around his waist. Eyes bright and upright. The background is stained with light ink, which is cold and intimidating, and sets off the unyielding loyalty of the theme characters. People, sheep, ancient trees, weeds, pen and ink flow freely, without losing the statutes, and the style of painting belongs to Wei Wu all the way. Time is getting closer and closer. There are many Fujian painters in Zhejiang School in Ming Dynasty, and Chen is one of them. His works are rarely handed down from generation to generation, and this painting was made when he was 7 1 year old, which is especially rare.