Due to the long-term division of Wei, Jin, Southern and Northern Dynasties, archaeological unearthed materials also showed a diversified face far from that of Han Dynasty. As for the discussion of the specific painting style, the following issues are mainly discussed with the tombs in the northern region: 1. Taking the murals of Hexi Tomb in Wei and Jin Dynasties as an example, this paper explains the changes of funeral culture from the end of Han Dynasty to Wei and Jin Dynasties. 2. Line drawing of stone carvings in Luoyang area of Northern Wei Dynasty. 3. The theme, layout and regionality of the tomb murals in the Northern Dynasties. By comparing the similarities and differences between Lou Tomb and Cuifen Cemetery in the Northern Qi Dynasty, this paper explains the regional style of tomb murals in the Northern Dynasty, the relationship between the identity of the tomb owner and the performance of murals, and the communication between the North and the South. 4. Cultural exchange between the East and the West and the introduction of the bright spot method in the western region. Before discussing the mural tombs in Hexi area of Wei, Jin, Southern and Northern Dynasties, we should first summarize the basic forms of expression of Han characters. This is because the mural tombs in the Wei, Jin and Hexi areas basically continue the style and tomb images of the mural tombs in the Han Dynasty, but the difference is that the traditional images of the Han Dynasty are arranged in different spatial positions. The basic expression of characterization in Han Dynasty can be summarized as: 1, with line drawing as the main expression. 2, pay attention to the performance of clothes and robes, and convey the psychological relationship between characters with gestures. 3. In historical stories, titles are often attached to supplement the contents of paintings with words. 4. Be able to organize large-scale group images.

There are few images of tombs unearthed in the Southern Dynasties. The use of images in tombs in the Southern Dynasties is mostly related to imperial tombs in Jiankang area, but the relationship between general cremation tombs and images is still unclear. The portrait bricks of the Seven Sages of Bamboo Forest and the Prosperous Age are the most important and representative tomb images in the Southern Dynasties. The content of this course is mainly to discuss the southern tomb materials and handed down paintings, supplemented by the interpretation of paintings. It can be divided into the following units: 1 Taking three groups of brick paintings of the Seven Sages of Bamboo Grove and Rongqi period unearthed in the Southern Dynasties as an example, this paper illustrates the characteristics of tomb images in the Southern Dynasties. 2. Gu Kaizhi's Illustration of Women's History, Fu Tu of Luoshen, On Painting and Victory Painting in Wei and Jin Dynasties. 3. Sheikh's catalogue of ancient paintings. 4. The birth of landscape painting and the characteristics of early landscape painting.

Before entering the analysis work, we should discuss the quality problem first. During the Wei and Jin Dynasties, attention was paid to the quality of painting. The evaluation and grading in Sheikh's Catalogue of Ancient Paintings fully shows his concern for quality. With the emphasis on quality problems, masterpieces will naturally appear. During this period, masterpieces were widely praised and regarded as the crystallization of artists' creativity. From the perspective of studying the history of painting, we certainly don't think that the history of painting is only the history of great painters, but in this period, great artists and highly respected masterpieces appeared for the first time in China. "Seven Sages of Bamboo Forest and Their Brilliant Period" and "A History of Women" are excellent materials for thinking about this issue. Although "Seven Sages of Bamboo Forest and Prosperity" is a tomb statue and "A History of Women" is a masterpiece handed down from generation to generation, their painting styles are different, but they all embody the concept of masterpieces.

Dunhuang murals flying in the air

Another problem is the problem of handed down paintings. A few years ago, this issue was not involved, because all of them dealt with archaeological relics unearthed from tombs. However, since the Southern and Northern Dynasties, we have to face the problem of handed down paintings. Handed down paintings are works collected and handed down through the ages, so there is a model problem. In order to preserve a precious original, it is often used as a means to make a large number of models. Especially in early paintings, most of the paintings handed down from generation to generation are templates. How to determine the age of the template and find out the original painting style on which the template is based is a very difficult problem. Mode involves the writer's intention and explanation, that is, how future generations understand the original. At this time, the contrast of the style of the times has become an important basis for speculating the prototype age. Gu Kaizhi's biography of A Woman's History is an extremely precious model. Landscape painting in Wei, Jin, Southern and Northern Dynasties is still in its early stage. The seventh attempt of Gu Kaizhi's Painting Yuntai Mountain to Ge Hong, a Taoist priest in Daoling, Zhang Tianshi, is immortal landscape. Among them, there is a cloud that "the sky is full of light and water", which shows that the use of azurite is a colorful green landscape. In addition, Gu Kaizhi said in "On Painting" that "it is the most difficult to draw people, the second landscape, the second dog and horse, and its pavilion is certain, but it is easy." . The heterogeneity of landscape painting is obviously not as good as figure painting. Regarding the formal characteristics of landscape painting in Wei, Jin, Southern and Northern Dynasties, Zhang Yanyuan once made an extremely accurate explanation in the Record of Famous Paintings in Past Dynasties: "When he painted landscapes, he had peaks. If the cymbals are decorated with rhinoceros combs, or the water can't be flooded, or the people are bigger than the mountains, they are all attached to trees and stones, and they are planted in rows, then if he stretches his arms and fingers. " The motif of landscape trees and stones in this period is quite in line with Zhang Yanyuan's explanation. Based on the comprehensive images and documents, it can be concluded that the characteristics of landscape performance in the Southern and Northern Dynasties are: 1, respecting strange stones, showing through the air, and not paying attention to the description of rock texture. 2. Compared with the characters, the scenery is dominated by color. 3. The diversity of trees is higher than mountains and rivers. 4. The proportion of people is greater than that of mountains. 5. There is a sense of space to express distance, although the actual painting style is not convincing. 6. Landscape is a fairy or an ideal world with a strong ideal character. This feature comes down in one continuous line with the performance of Xianshan in Han Dynasty.