/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 by Wen Tong, Su Shi and Mi Fei in the late Northern Song Dynasty, and advocated the pursuit of similarity, focusing on simplicity, 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 the most famous are □, Qian Xuan, Li□, Gao, Huang, Zhenwu, Ni Zan and Wang Meng.
Landscape painting Landscape painting was the most popular in the Yuan Dynasty. His creative thinking, artistic pursuit and style all reflect the mainstream tendency of painting circles and have the most far-reaching influence on later generations. At the beginning of Yuan Dynasty, landscape painters were represented by Qian Xuan, □ and Gao. They all made a serious exploration of traditional landscape painting and sought a new way through retro. Qian Xuanshan painted green landscapes, learned from Li Sixun, Li Zhaodao and Zhao Boju in the Tang Dynasty and the Southern Song Dynasty, and blended in the brushwork and charm of literati painting, which made him feel clumsy. Zhao Meng's landscape paintings widely absorbed the strengths of famous artists, emphasized the homology of painting and calligraphy, and introduced calligraphy into painting creation, forming a variety of faces. In the early years, I studied the Jin and Tang Dynasties, and there were many green colors, such as the "Young Gull Map", which was empty and filled with colors, without adding points, and the style was Gu Zhuo; After the age of 46, Dong Yuan, Li Cheng and Guo of the Northern Song Dynasty followed suit. They give priority to ink painting, sometimes combining ink painting with turquoise painting, sweeping away the habits accumulated in the Southern Song Dynasty, developing the expression techniques of landscape painting and making outstanding achievements. Gao changed among Mi Fei, Dong Yuan and Li Cheng, and formed a unique style of muddy wood, which was promoted by Qian Xuan and others in the early Yuan Dynasty. In the middle and late Yuan Dynasty, Huang, Wang Meng, Zhenwu and Ni Zan rose. They mainly inherited the landscape painting traditions of Dong Yuan and Ju Ran, and were directly or indirectly influenced by Zhao Meng in their creative concepts and methods, which have their own characteristics. Huang developed the ink painting method, catching up with Dong Yuanhe, and used the method of wearing hemp more. In his later years, he changed his methods and became a family of his own. His works have two sides: light crimson and ink painting. He has a pale crimson landscape, flowing clouds and flowing water, elegant brushwork and vigorous momentum; Ink landscape, Xiao San pale show, pen and ink free and easy, high realm, its charm is higher than that of Zhao Meng. Wang Meng is the grandson of Zhao Meng. In addition to the influence, he also got Huang's advice and learned Dong Yuanhe's painting methods. His landscape paintings are mainly ink and wash, with occasional coloring. He makes good use of dry pen to create Niu Maocun and solve problems. His works are full of layout and dense structure, with as many as 10 floors of mountains and dozens of trees. His brushwork is light and muddy, rich and elegant. Zhenwu's garden trees and stones belong to Dong Yuan and Ju Ran, and occasionally to Hao Jing and Guan Tong. They use wet pens, the brushwork is vigorous and the ink is wet. The theme is "The Fisherman's Map", which mainly describes the lakes and mountains in the south of the Yangtze River, and shows the hermit life of the painter who lives in seclusion, wanders the rivers and lakes and enjoys the scenery. Works often use beautiful and unique cursive poems to make poems, books and paintings complement each other. Ni Zan studied landscape painting from Dong Yuan at first, and then took part in the brushwork of Hao Jing and Guan Tong, writing rocks and trees, and concurrently studied with Li Cheng to create Broken Belt. Most of his works are based on the scenery around Taihu Lake, mostly wiped with ink and occasionally colored. Xiao San, who was in early and middle age, had a graceful figure. In his later years, he was broad and his works felt desolate. Yuan Sijia developed China's landscape painting to a new stage with their innovative styles and concise and detached artistic techniques, which represented the mainstream of landscape painting development in this period.
Zhenwu: The Cold Goose in Lu Hua
There were also a group of landscape painters in the Yuan Dynasty, each with its own characteristics, enjoying a high reputation in the history of painting. Among them, people who were greatly influenced by,, Cao, Zhu Derun and Tang Di also lived in Li Cheng and Guo's painting circles. Influenced by Huang and Wang Meng, Dong Yuan, Lu Guang, Ma Wan, Chen, Fang and others. Sun Junze, Ding, et al. He studied landscape painting in the Southern Song Dynasty and preserved the legacy of Ma Yuan and Xia Gui. In addition, the landscape pavilions of Wang Zhenpeng, Li Rongjin and Zhu Yu are famous for their neat brushwork and accurate conversion.
Figure painting Figure painting was far less prosperous than landscape painting and flower-and-bird painting in Yuan Dynasty, and was in decline compared with the previous generation. Due to the sharp and complicated contradictions among nationalities, classes and society, most painters passively avoid the world and ignore life. Literati painters, in particular, mainly express their feelings with mountains and rivers, dead trees and bamboo stones, while ignoring the performance of personnel. Therefore, there are few figure paintings that directly reflect real life. With the popularization of religion, the figure paintings of Buddhism and Taoism have been improved to some extent. In terms of art, some painters borrowed from the pen and ink skills of literati painting and made some achievements. Zhao Meng was a great figure painter in Yuan Dynasty. He is good at drawing figures and pommel horses, learning from Li in the Jin, Tang and Northern Song Dynasties, and making good use of iron line drawing and swimming four wonders. His brushwork is vigorous, his color is elegant, his style is simple and muddy, and his face is diverse. Other famous artists include Liu Guandao, He Cheng, Wang Zhenpeng, Qian Xuan, Ren Renfa, Zhang Wo, Wei Jiuding, Wang Yi and Yan Hui. Liu Guandao studied under the Jin and Tang Dynasties and was a master in the early Yuan Dynasty. His brushwork was dignified and solid, and his characters were comfortable. He Cheng inherited the composition of the Southern Song Dynasty and opened the way for figure painting in the Yuan Dynasty. Learning from Li, his pen is smooth and vigorous, and his characters are lifelike. Line drawing is rendered in light ink, which breaks through the general line drawing program. Qian Xuan's figure paintings have been studied since the Jin and Tang Dynasties, and most of his costume patterns come from Gu Kaizhi, Gao Gu and You Simiao. His works are steady but not sluggish, and they are exquisite and elegant in Gu Zhuo, forming their own style. Ren Renfa's pommel horse study began in the Tang Dynasty, with exquisite and smooth brushwork and bright brushwork. He retained more traditions of the Tang Dynasty, but also had his own style, which was as famous as Zhao Meng in the early Yuan Dynasty. He is good at drawing characters in simple ways, learning from Li, using his pen fluently and vividly, and is known as "the first wonder in the world". Wang Yi is good at drawing portraits, with delicate brushwork, accurate modeling and vivid expression, which is very popular in the Yuan Dynasty.
Just like a painter, his achievements are the most outstanding. Yan Hui enjoys a high reputation in religious figure painting. His brushwork is rough and bold, which is slightly similar to Liang Kai's splash-ink method in the Southern Song Dynasty, showing a concave-convex effect when the ink is smudged.
Flower-and-bird painting The paintings of dead wood, bamboo stone and Mei Lan in the Yuan Dynasty, with the prosperity of literati painting, have also made further development and significant changes. Its theme often implies nobility and detachment, maintaining the painter's thoughts and sentiments. In art, it emphasizes nature and natural interest, rather than sculpture and beauty, and advocates simplicity and purity. Mainly through ink painting techniques to express. His painting style pioneered the freehand brushwork of flowers and birds in ink painting in later generations. Famous flower and bird painters have money to choose from, such as Chen Lin, Zhong Zhang and others. They changed on the basis of inheriting the flower-and-bird paintings in Song Dynasty. Qian Xuan changed exquisite workmanship into elegant elegance, and in his later years, he created freehand brushwork in ink and colorful boneless painting. Wang Yuanshi studied in the grave, and his works were mostly ink paintings, which changed from neat and rich to simple and elegant. He was the most outstanding flower and bird painter in Yuan Dynasty. Chen Lin and Zhong Zhang's brushwork was unpretentious, which broke through the fine brushwork standard of the academy painting in Song Dynasty. The most famous bamboo and stone painters are Li, Gao, Ke, Zhenwu, Gu 'an and Ni Zan. Most of them have inherited the traditions of Wen Tong, Su Shi or Wang Tingjun, and have their own characteristics. They are good at ink painting. Zhang Xunshan's double hook bamboo painting achieved great success in the Yuan Dynasty. Other famous bamboo and stone artists include Li Ya, Xie Tingzhi and others. People who are famous for painting plums are Zou Fulei, Wang Mian and others. They learn more from Zhong Ren monks and Yang Wuxia. Zou Fulei's brushwork is free and easy, and his pen and ink are clean and moist. Wang Mian's plum branches are beautiful, with simple brushwork and won the beauty of plum blossoms.
Wang Yuan: Peach, Bamboo and Golden Rooster
Murals in the Yuan Dynasty were relatively prosperous and widely distributed. On the basis of inheriting the tradition of murals in Tang, Song, Liao and Jin Dynasties, there are also new changes. From the physical remains and literature records, there are murals of Buddhist temples, Taoist temples, tombs, palaces and halls of dignitaries. The themes of murals in temples and palaces are mainly Buddhist and Taoist figures. Most murals in temples depict landscapes, bamboo stones and flowers and birds. Murals in tombs mainly reflect the life of the tomb owner before his death, including figures, landscapes, bamboo stones, flowers and birds, etc. Most of the authors involved in the creation are folk painters. There are also some literati, literati and painters. The murals of temples, temples and tombs are mostly painted by folk painters, while the murals of palaces and mansions are mainly painted by literati painters. The increase of landscapes, bamboo stones, flowers and birds is one of the remarkable characteristics of murals in Yuan Dynasty, which is closely related to the prosperity of literati paintings and the artistic fashion and aesthetic hobbies at that time. Murals in the Yuan Dynasty are mainly divided into:
(1) Buddhist temples and Taoist murals. In order to use religion to maintain the rule, the Yuan government adopted the policy of protecting religion, which made Buddhism and Taoism quite popular. In order to encourage the development of religion, the Yuan government also ordered the construction of temples and Taoist temples all over the country, and murals of Buddhist temples and Taoist temples came into being, and invited more folk experts to draw them. The Buddhist tantric murals in Cave 3 and Cave 465 of Mogao Grottoes in Dunhuang, Gansu, the Buddhist murals in Xinghua Temple and Zhenglong Temple in Jishan County, Shanxi Province, the Taoist murals in Yongle Palace in Ruicheng County, and the water temple murals in Guangsheng Temple in Hongtong County all belong to the representative works of Yuan Dynasty murals. Especially the Yongle Palace mural, with large scale, many figures, rich content and exquisite skills, is the best existing ancient Taoist mural. The dramatic figures and pictures depicting Wang Mingying's court life in the frescoes of Guangsheng Temple Water Temple are rich in lines, rich in colors, vivid in characters and strong in life, which can be called treasures in the frescoes of the Yuan Dynasty. In addition, the Ladang Temple and Xialu Temple in Tibet, Buddhist temples and Taoist temples in Inner Mongolia, Liaoning, Jiangsu, Sichuan and many parts of South China are painted with murals of Buddhism and Taoism.
(2) Tomb murals. According to archaeological findings, the most representative murals of Feng Daozhen's tomb in Datong, Shanxi Province and Yuan Tomb in Miyun County, Beijing were drawn in the early Yuan Dynasty. Clay and Pass in Feng Daozhen's Tomb
Ink paintings such as fish pictures, Taoist pictures, and night photos of sparse forests seem to come from the same author, and their contents truly reflect the life and hobbies of the tomb owner Taoist officials. The figures in the picture are vivid in posture, beautiful in scenery, smooth and vigorous in brushwork, and have the rules of the Southern Song Dynasty; Its composition structure is influenced by the painting methods of the Northern Song Dynasty and the Jin Dynasty, and it has some characteristics of literati painting. The murals of Yuan Tomb in Miyun County, Beijing are very skillful in outlining the lines of characters' costumes and washing the lines of flowers, bamboos and stones, especially plum blossoms and bamboo stones appear as a picture, which is extremely rare in previous murals. The discovery of the murals of the above two tombs is of great value to the study of the evolution of painting methods and artistic styles of landscapes, figures, flowers, birds and bamboo stones in the early Yuan Dynasty. Other murals include Zhuo Ma Village in Changzhi City, Shanxi Province, Fujiatun in Lingyuan County, Liaoning Province, and Sanyanjing Yuan Tomb in Chifeng City, Inner Mongolia.
(3) murals of palaces and halls. In the Yuan Dynasty, both the royal palace and the aristocratic residence were decorated with murals. According to documents, some famous painters such as Li □, Tang Di, etc. Called to build Jiaxu Hall in the palace of Yuan Dynasty.
This temple is painted with walls. Mongolian Taoist painter Zhang Yanfu once painted the walls of Qin Tian Temple. Some nobles and dignitaries are arty, and famous painters are invited to paint murals of landscapes, bamboo stones, flowers and birds in the lobby of luxury houses. But with the destruction of buildings, such murals no longer exist. All these situations are reflected in the poems of Jue Yuan, Fan Wei, Zhao Meng and others.
The prevalence of murals in the Yuan Dynasty provided a vast world for a large number of folk painters to display their wisdom, which enabled Wu Daozi, Wu Zongyuan and others to inherit and carry forward the excellent mural tradition since the Tang and Song Dynasties and played an important role in the history of China painting.
There are many works on the history of painting in the Yuan Dynasty, but few of them carry weight. The important works of historical biography include Xia's Painting Treasure and Zhuang Su's Painting Complement. Description and evaluation categories include careful "cloud and cloud"
Tang's "Passing Eyes", "Continued Passing Eyes" and Tang's "Painting Guide" □; There are Li□' s Bamboo Spectrum, Huang's Sketch of Landscape, Zhenwu's Bamboo Spectrum, Rao Ziran's Landscape Family Style, and Wang Yi's The Secret of Portrait. this
The poems and paintings of Qian Xuan, Zhao Meng □, Ke, Zhenwu, Ni Zan, Yang Weizhen and others also have important expositions about painting creation.