The material 1 2 respectively reflects the characteristics of calligraphy and painting in the Northern Song Dynasty.

Material 1: Su Shi thinks: "A book must have God, Qi, bone, flesh and blood, and it would not be a book without one of them." Emphasize the spiritual bearing of calligraphy. He also believes that "I can't make a book with my heart." Huang Tingjian also advocated that calligraphy should be "absorbed" and that learning from the ancients should be "divorced".

Material 2: Song Huizong Evonne is good at painting flowers and birds. He not only established the Royal Academy of Painting, but also had an examination system. For example, once the exam question was "No one crossed the wild water and crossed the sun alone" ... The picture that won the first prize was that the boatman was lying at the stern, playing the flute alone. What the painter wants to express is "nothing" in the title, that is, "there are no boat people, only pedestrians"

What are the characteristics of (1) material 1 and 2 in painting and calligraphy in the Northern Song Dynasty? What are its * * * characteristics? (4 points)

(2) Based on the knowledge learned, this paper briefly analyzes the main reasons for the above characteristics of calligraphy and painting in the Northern Song Dynasty. (6 points)

(1) It is impossible for calligraphy in the Northern Song Dynasty to pursue individuality, ignore statutes and advocate intentionality; Landscape painting has developed into an independent painting, and painters pay more attention to artistic conception. Its common feature is to emphasize spirit and artistic conception. (4 points)

(2) Rulers attach importance to literati, the rise of the civil class, and the rich and colorful social life. The rise of Neo-Confucianism makes the literati pay more attention to their inner cultivation, and calligraphy and painting also have the same social life environment. (6 points)