Appreciating literati painting is a kind of painting with literati interest and thoughts. Chen Hengke said when explaining literati painting, "Don't pay attention to art in painting, but see the feelings of many literati outside painting".

catalogue

brief introduction

Historical development before the Song Dynasty

Song dynasty

the Yuan Dynasty

the Ming Dynasty

Ching Dynasty

Modern Times

Basic features: 1. Deep learning and cultivation

Secondly, these words have substance.

Third, elegant style.

artistic style

Contemporary painter Huo Chunyang

Bian Pingshan

Wang Yong

Yuan Zhenxi

Chen mowu

Zhao beixin

xinjian zhu

Yiran

Wang weixin

brief introduction

Historical development before the Song Dynasty

Song dynasty

the Yuan Dynasty

the Ming Dynasty

Ching Dynasty

Modern Times

Basic features: 1. Deep learning and cultivation

Secondly, these words have substance.

Third, elegant style.

artistic style

Contemporary painter Huo Chunyang

Bian Pingshan

Wang Yong

Yuan Zhenxi

Chen mowu

Zhao beixin

xinjian zhu

Yiran

Wang weixin

Expand and edit the introduction of this paragraph.

Southern School, also known as "literati painting", is a kind of Chinese painting. Generally refers to the paintings made by literati in China feudal society. Different from the paintings of folk painters and professional painters in the Palace Painting Academy, Su Shi put forward "literati painting" in the Northern Song Dynasty, and Dong Qichang advocated "literati painting" in the Ming Dynasty, with Wang Wei as the founder and the ancestor of Nanzong (see Nanbeizong). But in the old days, it was often used to raise the painting art of the literati class and despise folk painters and institutional painters. In the Tang Dynasty, Zhang Yanyuan once said in Notes on Famous Paintings of Past Dynasties: "Those who have been good at painting since ancient times are better than others without elegant clothes." This sentence has far-reaching influence. Modern Chen Hengke believes that "literati painting has four elements: personality, knowledge, talent and thought, and with these four elements, it can be perfected." Usually, "literati painting" takes landscape, flowers and birds, plum blossoms, bamboo, chrysanthemum, wood and stone as the theme. To express "spiritual spirit" or personal ambition, sometimes it also contains feelings of oppression to the nation or resentment against decadent politics. They admire "morale" and "one product", advocate algae interest, stress pen and ink interest, get rid of similarities, emphasize verve, and attach great importance to the cultivation of literature and calligraphy and the creation of artistic conception of painting. Mang Fu Yao's Preface to Scholars' Painting in China once had a high evaluation: "King Youcheng of the Tang Dynasty (Wei) helped poems to enter the painting, and then the pen became interesting, and the method changed at will. Needless to say, the palace merchants, the mountains and mountains are all rhyme, and the righteousness does not have to be more prosperous. " Literati painting in past dynasties has a considerable influence on the aesthetic thought of Chinese painting and the development of ink painting, freehand brushwork and other techniques. Literati painting is a painting with literati interest and thoughts. It is not juxtaposed with the landscape, flowers and birds and figures in Chinese painting, and it is no different from painting and writing in terms of techniques. He is the intersection of landscapes, flowers and birds and figures in China's paintings. Chen Hengke said when explaining literati painting, "Don't pay attention to art in painting, but see the feelings of many literati outside painting". In this sense, the so-called literati painting or literati painting, knowing that painting is a thing. He is also a spiritual person, thinker, activist, non-tool person and non-pure person. "That literati painting is literary, philosophical and lyrical. In traditional painting, its unique "elegance" is unique, which is different from craftsman painting and courtyard painting.

Edit this historical development.

Before song dynasty

The origin of literati painting can be traced back to the Han Dynasty, and both Zhang Heng and Cai Yong have painting names. Although the painting has not been handed down from generation to generation, it is recorded in ancient books. During the Wei, Jin, Southern and Northern Dynasties, Yao Zui's "don't learn to be a man, entertain yourself" became the central argument of literati painting. Scholars of all ages respected it as a painting purpose. Zong Bing's ambition is to "have a clear mind and view the Tao, and lie down and swim". It fully embodies the mentality of the literati to entertain themselves. Poetry prevailed in the Tang Dynasty, and the great poet Wang Wei painted with poetry. Make later generations regard him as the originator of literati painting. His paintings became a model for later literati painters. There are pictures in poems, and there are poems in paintings. It has become a practice and passed down from generation to generation. Before the Song Dynasty, China's painting had made remarkable progress, and there were "three landscapes" and "Xu Lvti different" flower-and-bird paintings.

Song dynasty

The Royal Academy of Painting was founded in the Song Dynasty. According to Deng Chun, the author of Painting Sui, Song Huizong personally presided over the Painting Academy, emphasizing "likeness" and "testimonies". Statutes are learning from tradition, which seems to reproduce objective things in a true and meticulous way. Song Huizong took realism and freehand brushwork as the leading thoughts, and developed a finely carved style. The above painting style of Xuanhe Painting Academy continued to develop in Shaoxing Painting Academy in the Southern Song Dynasty, and painters pursued vivid images and refined compositions. Generally speaking, the court painting in Song Dynasty pursues a high degree of realism, and some art historians call it "the peak of oriental realism". Realistic art tends to go to the opposite side when it develops to the extreme. In Song Dynasty, some painters with extensive cultural accomplishment found this shortcoming, and found a new way out in theory and practice, and put forward the theory of literati painting for the first time. Su Shi was the first to comprehensively expound the theory of literati painting, which played a decisive role in the formation of literati painting system. First of all, he put forward the concept of "literati painting". "Looking at literati paintings is like reading the horses of the world and taking what they feel. But if you are a painter, you often just take a nap in the fur trough and look at your feet and get tired. Han Jieshi's Dead Trees and Strange Stones

Scholars paint also. "("Dongpo inscription? Postscript Song Han Jie's "Painting"), secondly, he improved the historical position of the painter Wang Wei, showing the desire to separate the literati painter from the professional painter (painter): "Although Wu Sheng is wonderful, he still regards painting as a painter. Thank Long Fan like a fairy. " (Fengxiang eight views? Thirdly, he advocated the poetic style of literati painting, and opposed the painter's complete pursuit of similar style. "There is a picture in the poem. Look at the picture. There are poems in it. From the perspective of painting practice, Su Shi's Dead Wood and Strange Stone can better show his aesthetic practice. In addition, Wen Tong's ink painting and Su Shi's * * * created the theme of "dead wood and bamboo stone" for literati painting. In figure painting, Li has high attainments in appreciation, calligraphy and antiquities, and creatively developed the "line drawing" in the Tang Dynasty into a simple drawing. This colorful line emphasizes calligraphy skills and abstract aesthetic taste, which is more in line with the aesthetic standards of literati. Yun Shan Mo and Mi Dian Tuan, created by Mi Fei and Mi Youren in the Southern Song Dynasty, marked the change of landscape painting from simple to dense, and were inherited and developed by Gao in the early Yuan Dynasty, which had a great influence on literati painting in Yuan, Ming and Qing Dynasties.

the Yuan Dynasty

Huangzhou mozhu map

The literati in Yuan Dynasty were in a rather humble situation, and they abandoned their official career and neglected their personnel. In the Song Dynasty, literati painting, which was mainly the amateur cultural life of official literati, began to be transferred to the hands of opposition literati, becoming a kind voyage for them to transcend their depressed lives and return to nature. The scenery in the painter's mind embodies the painter's ideal of being far away from the world, blends into the painter's indifferent free state of mind, and also permeates helpless depression and indifference. With the Yuan rulers absorbing the adherents of Song Dynasty to participate in the political power and cultural construction, Zhao Mengfu appeared in the artistic exchange between North and South, which influenced the painting atmosphere of the generation in transition. If Su Shi is an active advocate of literati painting, then Zhao Mengfu is the leader of literati painting in Yuan Dynasty. As an art theorist, Zhao Mengfu advocated "taking Yunshan as a teacher", "painting cherishes ancient meaning" and "painting and calligraphy are of the same origin" in Song Xuezhai Collection, which laid a theoretical foundation for the creation of literati painting. Dong Qichang explained: "Zhao (Zhao Mengfu) asked Qian Shunju (Qian Xuan) how can it be called morale? Qian said: "If you can separate the painting history from the painting body, you can fly without ink, otherwise you will go astray and go further and further." It is also extended as: "Literati should draw pictures based on cursive script, with trees like bent iron and mountains like painted sand. This is to boost morale and avoid sweet talk and vulgar ways. Everyone attaches importance to introducing the pen and ink interest of calligraphy into painting, and the sketch lines also have the elegant style of literati. Huang's Fuchun and the Painting Practice in Yuan Dynasty

At the beginning of the Yuan Dynasty, the scholar-bureaucrat painters, represented by Zhao Mengfu and Gao, advocated restoring ancient ways and returning to the tradition of Tang and Northern Song Dynasties, and advocated painting with books. As a result, they began to pay attention to verve, ignore rhythm and pay attention to subjective lyricism. In the middle and late Yuan Dynasty, painters such as Huang, Wang Meng, Ni Zan, Zhen Wu and Zhu Derun carried forward the literati painting atmosphere, promoted the development of painting circles with the aim of relying on freehand brushwork, reflected passive and secluded landscapes, and were popular with themes such as plum, orchid, bamboo, chrysanthemum, pine and stone, symbolizing lofty and faithful personality spirit. Ni Yunlin, its representative figure, has a representative theory of literati painting: "I talk about writing about escaping from the chest, which is nothing more than his paradox, the leaves are numerous and sparse, and the branches are oblique and straight!" Or smeared for a long time, others regard hemp as reed, and servants can't argue bamboo. No one really looked. (Ni Zan: China Zhang Yi painted bamboo) The typical literati landscape painting style was thus formed.

the Ming Dynasty

Painters in the early Ming Dynasty were divided into two schools, one was loyal to the tradition of literati painting in the Song and Yuan Dynasties, and the other was retro, that is, Dai Jin, Wei Wu and others who inherited the tradition of courtyard landscape painting in Ma Xia in the Southern Song Dynasty in the Royal Painting Academy revived in the early Ming Dynasty. However, the literati painting in Ming Dynasty, represented by "wu school", swept away the "retro-style" college painting and pushed the literati ink painting style established by Yuan people to a higher stage. The main figures were Shen Zhou, Wen Zhiming, Tang Yin and Chou Ying. Most of the main members of the five schools of painters belong to the literati with three unique skills of poetry, painting and calligraphy. They are sensitive to sinister occupations or personal experiences, so they are indifferent to literati, traveling in the forest and entertaining themselves with poetry and calligraphy. They are still interested in painting, inheriting the tradition of "morale" and expressing their personality and feelings. The appearance of Dong Qichang in the late Ming Dynasty expanded the new realm of literati landscape painting. At this point, literati painting has matured both in practice and theory, and Dong Qichang summarized it, thus making the traditional landscape painting in China, which is characterized by literati painting, reach a fully mature position. Dong Qichang's greatest influence on painting is that he put forward the theory of landscape painting "Northern and Southern Schools" and "Literati Painting": Literati Painting began in, followed by Dong Yuan, a monk, Li Cheng and Fan Kuan as his sons, while Li Longmian, Wang Jinqing, Min Nangong and Hu Zi all came from Dong Ju and spread to Huang Zijiu, Wang Shuming, Ni Yunzhen and Wu. Ruoma, Xia, Liu Songnian were also sent by General Li, not by him. ("Painting Zen Room Essay? In the origin of painting, the North and South schools use Zen as a metaphor for painting, borrowing the characteristics of Zen Buddhism, which means that the South School of landscape painting advocates morale and emphasizes simplicity and pen and ink, while the North School is a painter's painting, emphasizing skill and similarity; The theory of southern and northern sects emphasizes the concept of literati painting and combs its sectarian system. Judging from Dong Qichang's own painting practice, this means integrating calligraphy cultivation into painting practice, "Tang Yin scholar's empty pavilion is cool at night."

When painting, we should use the method of Cao Li's variant characters "; Replace the modeling principle with pen and ink charm. Dong Qichang also emphasized the "morale" of literati painting. Dong Qichang's theory of southern and northern sects and his painting practice gave birth to a large number of landscape painters in Ming and Qing Dynasties, among which an outstanding one was called "Four Kings and Five Rhymes" in the history of painting. Drawing lessons from Dong Qichang's theory of Southern and Northern Schools, the Four Kings developed and described the Southern School Movement of Landscape Painting. In the name of antique, they systematically summarized the creative practice of southern painting school. In addition to the orthodoxy of the four kings, there are reformists represented by Shi Tao, Badashanren and Yangzhou Eight Eccentrics, the simplicity of Badashanren and the strangeness of Shi Tao. However, in essence, the paintings of Wang Si, Shi Tao, Badashanren and others. They are all different, but they are all to express their pen and ink interest and unique personality. Therefore, the Four Kings Painting School and Shi Tao are two ways within literati painting. First, summarize and refine their creative practice, so that China's paintings will move towards the road of stylization; The other way is to continue the artistic experiment and bold innovation of pen and ink in order to further develop. Both of them have remarkable historical achievements, reflecting the dialectical relationship between change and inheritance.

Ching Dynasty

In the heyday of literati painting in Qing Dynasty, many top literati painters emerged, the most prominent of which was the "Four Monks". Among the "Four Monks", Zheng Xie's bamboo and stone paintings are most famous for Badashanren and Shi Tao.

Highlight. As adherents of the late Ming Dynasty, they expressed the pain of the country's destruction and death in their paintings and calligraphy. Eight strokes are unrestrained, indulgent, concise, exaggerated in shape and cold in artistic conception. Shi Tao tried to observe nature, despised Chen Xiangyin and followed suit as a painter. He advocates "pen and ink should keep pace with the times", "law should stand on its own feet" and "seeking strange peaks and drafting" for life. His thoughts had a far-reaching influence on the later Eight Eccentrics in Yangzhou ("Yangzhou School of Painting"), Xugu, Zhao, Ren Bonian and Wu Changshuo.

Modern Times

Since modern times, there have been three debates about Chinese painting, the core of which is how to treat China's traditional painting characterized by literati painting, whether to inherit or abandon it, whether to westernize it or to completely inherit the tradition. In the first debate, Kang Youwei, Chen Duxiu and others. It calls for an artistic revolution, which completely adopts western realistic methods to transform painting, while Chen Shiceng and others defend the position and value of China's literati painting and publish the article "The Value of Literati Painting", which systematically summarizes and explains China's literati painting in theory. The second time was that Xu Beihong put forward that "sketch is the foundation of all plastic arts" in the 1940s and 1950s. He advocated that the study of Chinese painting in art colleges must start with sketches, while Pan Tianshou and others advocated that the department of Chinese painting should be restored, and Chinese painting should be developed independently and taught independently without the influence of western painting. For the third time, from the 1980s, Wu Guanzhong put forward the concept of modern painting, trying to completely change Chinese painting. From the creative practice, there are three paths in modern Chinese painting, and each path has produced a master. First, Wu Changshuo, Qi Baishi, Huang, Lu and other painters who completely inherited traditional paintings and constantly explored and innovated; Second, Liu Haisu, Pan Tianshou and Li Keran are based on China traditional painting and learn from western painting skills; The third is to adopt western painting techniques and integrate Xu Beihong and Lin Fengmian from different schools in China and the West.

Edit the basic features of this paragraph.

Judging from the historical evolution of literati painting, literati painting must have several characteristics.

First, profound study and education.

Feudal scholar-officials were selected through the imperial examination system, so literary talent must be the basis of being an official. If you want to have a strategy, you need to build thousands of poems in your stomach. The paintings painted by such people will be very literary if they are not called "literati paintings".

Secondly, these words have substance.

In ancient times, literati paintings were not sold immediately when they were painted with three fires and four fires, but when they came, they expressed their true feelings with sadness and joy. Therefore, future generations can see disdain from the eagle eyes of Badashan people.

Third, elegant style.

Momo Danqing has been called "elegance" since ancient times, and the scale of "elegance" is style. This is related to the painter's personality, but not all. What is more important is the education and environment that the painter receives. The appreciation of style has a great relationship with the taste of the connoisseur, that is, as the saying goes, "a good painting needs to be seen by the knower." Literati painting is a comprehensive art, which integrates literature, calligraphy, painting and seal cutting. It is a concentrated expression of various cultural qualities of painters, especially in calligraphy. The combination of dots, lines and strokes in calligraphy is not only the basic element of artistic image, but also an important appreciation object with independent aesthetic value. The unique rhythm and rhythm formed by the weight of brush strokes and the density of dotted lines should reflect the painter's unique mentality, temperament and personality in the creative process, and organically combine these with the form and spirit of the things expressed, so that the heart and hand correspond, the strength is consistent, the traces are broken and even, and the pen is not thoughtful. In color and ink painting, literati painting pays more attention to the use of ink painting and pays attention to the five colors of ink. The most important reason why Wang Wei was highly praised by Su Shi and Dong Qichang is that he created ink painting in his later creation. The reason why literati painters pay more attention to ink painting than color is directly related to the artistic concept and aesthetic concept of China's traditional painting, that is, traditional painting never takes the real reproduction of things as its creative purpose, but takes revealing the inner charm of things as its highest artistic pursuit. Based on this purpose, the unique aesthetic thought of this nation has been formed, that is, abandoning gaudiness, taking simplicity, paying attention to painting afterwards, returning to simplicity and simplicity, and so on, which has become the conscious pursuit of literati painters in art. The formation of the characteristics and system of literati painting is also related to the literati's regard of painting as a means of spiritual adjustment. For these painters, creation only plays a connecting role. In this way, the simplest tools (pen, ink and paper) and the most general language (black, white and gray) convey the deepest feelings and become creative, instead of serving things and being bound by law.

Edit the artistic style of this paragraph

Literati painting has different pursuits in subject matter, ideological interest, pen and ink skills, and has formed many styles and schools. Landscape painting and ink freehand brushwork are popular, and many schools of different styles have emerged. The themes of literati paintings are mostly plum, orchid, bamboo, chrysanthemum, mountains and fishing, and literati express their feelings by describing the natural scenery they can see. In their eyes, plum, orchid, bamboo, chrysanthemum, mountain and fishing live in seclusion, which is no longer pure natural scenery, but the embodiment of a gentleman. Mei, cold and snow-resistant, jade bone ice muscle, narcissistic; Orchids, elegant and fragrant, self-pity, lead a totally clean life; Bamboo, modest and vigorous, straight rod lingyun, high wind and bright festival; Chrysanthemum Ao Shuang, proud; Landscape fishing and hunting live in seclusion, indifferent to the world, indifferent to fame and fortune. Literati express their inner heroism or anguish in this way. Express your lofty and elegant, because of public and private, because of the country and because of home. There is Tao Qian's "picking chrysanthemums under the east fence, leisurely between the south mountains"; Su Shi wrote the cloud "Straight Bamboo", "When bamboo is born, one plant is born"; There is Zhenwu, the Taoist priest called Meihua, saying that Mei's wife and crane died; And Zheng Sixiao, who lost her land because of national subjugation, and so on. Although they are all influenced by Confucianism and comforted by Taoists and Buddhists, they are also gentle and romantic. Literati painting pays attention to it. Du Fu's saying that "you concentrate all your life on one silk" is ingenious and unforgettable.