Source: Chinese Calligraphy and Painting Network Author of the article: Anonymous ◇The Six Dynasties and Four Houses The Six Dynasties refer to the Soochow, Eastern Jin, and Song, Qi, Liang, and Chen in the Three Kingdoms, all named after Jiankang (named Wu Jianye, now Nanjing, Jiangsu) ) is the capital.
The four masters in the history of painting refer to Cao Buxing of the Eastern Wu Dynasty, Gu Kaizhi of the Eastern Jin Dynasty, Lu Tanwei of the Southern Dynasties Song Dynasty, and Zhang Sengyao of the Southern Dynasties Liang Dynasty.
Zhang Huaiguan of the Tang Dynasty commented on the paintings of the Six Dynasties: "Zhang (Seng Yao) got his flesh, Lu (Explorer) got his bones, and Gu (Kaizhi) got his spirit." Paintings of the Six Dynasties are rare, especially those of the Six Dynasties. There is no trace of Cao Buxing.
Tang Hou of the Yuan Dynasty believed that Cao Buxing's "Military Symbols Pictures" had "a brilliant brushwork, which is suspected to be the work of people in the late Tang and early Song Dynasties."
◇The Four Southern Song Dynasty painters are collectively known as Li Tang, Liu Songnian, Ma Yuan and Xia Gui.
It belongs to the bold and simple style of painting.
There was no such name at the beginning. Tang Hou of the Yuan Dynasty said: "The famous people in the Southern Song Dynasty Painting Academy include Li Tang, Zhou Zeng, Ma Yuan, Xia Gui, Li Di, Li Anzhong, Lou Guan, Liang Kai Those who were disciples were appreciated by Li and Tang, and the others cannot be distinguished." The advocate of this theory was Liu Songnian's "Spring Mountain Immortal Hidden Picture" written by Tang Yin in the Ming Dynasty, and they were known as "Li, Liu, Ma, and Xia".
Later Tu Long said: "Li Tang, Liu Songnian, Ma Yuan, and Xia Gui were the four great masters after the southern crossing." Zhang Chou thought: "Liu Songnian of the Southern Song Dynasty was the first, and Li Tang, Ma Yuan, Xia Gui followed. "Zhang Taijie said: "Liu, Li, Ma, and Xia all bear important names, but Li and Ma are the most important." ◇The collective name of the four representative painters of Yuan Dynasty landscape painting.
There are two main theories: one refers to Zhao Mengfu, Wu Zhen, Huang Gongwang, and Wang Meng, as shown in the "Appendix of Yiyuan Yanyan" by Wang Shizhen of the Ming Dynasty.
The second refers to Huang Gongwang, Wang Meng, Ni Zan and Wu Zhen, as seen in Dong Qichang's "Rongtai Collection·Hua Zhi" of the Ming Dynasty.
The second theory is more popular.
Zhao Mengfu, Gao Kegong, Huang Gongwang, Wu Zhen, Ni Zan and Wang Meng are also collectively referred to as the "Six Families of the Yuan Dynasty".
Although the painting styles have their own characteristics, they are mainly developed on the basis of Dong Yuan of the Five Dynasties and Ju Ran of the Northern Song Dynasty. They emphasize pen and ink, emphasize interest, and combine calligraphy and poetry. They are the mainstream of landscape painting in the Yuan Dynasty. The Ming and Qing dynasties had a great influence.
◇The Six Families of the Yuan Dynasty are collectively called Zhao Mengfu, Gao Kegong, Huang Gongwang, Wuzhen, Ni Zan and Wang Meng in the Yuan Dynasty.
See "Four Families of the Yuan Dynasty".
◇Northern and Southern Sect Dong Qichang of the Ming Dynasty said that landscape painters were divided into two factions: northern and southern.
"Rongtai Collection·Painting Purpose": "There are two sects of Zen, the northern and southern sects, which were divided in the Tang Dynasty; the two sects of painting, the northern and southern sects, were also divided in the Tang Dynasty, but their people are not northern and southern.
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In the Northern Sect, Li Sixun and his son painted landscapes, which were passed down to the Song Dynasty's Zhao Wei, Zhao Boju, (Zhao) Bosu, and even Ma (Yuan) and Xia (Gui) generations; in the Southern Sect, King Mojie (Wei) He started to use the method of rendering, and then changed to the method of hook and cut. It was passed down to Zhang Hong, Jing (Hao), Guan (Tong), Dong (Yuan), Ju (Ran), Guo Zhongshu, Mi Jiafu (Fu, Youren) , even the four great masters of the Yuan Dynasty (Huang Gongwang, Wu Zhen, Ni Zan, Wang Meng), just like after the Sixth Patriarch (i.e. Huineng), there were descendants of Maju, Yunmen, and Linji, while the Beizong (represented by Shenxiu) "Wei" also said: "Literati painting began with Wang Youcheng (Wei Dynasty). Later, Dong Yuan, Ju Ran, Li Cheng, and Fan Kuan were the legitimate sons. Ruoma, Xia, Li Tang, and Liu Songnian were also the sect of General Li. It is not for me to learn from Cao." This theory is not consistent with the historical facts of the evolution of landscape painters, and it also means that "South" is respected and "North" is disparaged.
Chen Jiru of the Ming Dynasty (called "Dong Chen" together with Dong Qichang at the time) is particularly obvious: "The Li school is thin and lacks morale; the Wang school is weak and scattered." The painting circles in the late Ming and early Qing Dynasties agreed. The view that "Nanzong" is the "orthodox" was formed.
◇The Four Families of the Ming Dynasty are the collective name of Shen Zhou, Wen Zhengming, Tang Yin and Qiu Ying in the middle of the Ming Dynasty.
There was a relationship between them as teachers and friends, and their painting skills had their own unique styles, which had a great influence on future generations.
Shen and Wen are closer in style.
Later it developed into the Wu Sect.
The Ming Dynasty had outstanding families, including Dai Jin in the early period, Lin Liang, Wu Wei, and Lu Ji in the middle period, and Chen Hongshou in the later period. Shen, Wen, Tang, and Qiu cannot represent the entire Ming Dynasty painting scene.
◇Nine Friends in the Painting is the collective name of nine painters from the late Ming and early Qing dynasties, including Dong Qichang, Yang Wenchong, Cheng Jiasui, Zhang Xuezeng, Bian Wenyu, Shao Mi, Li Liufang, Wang Shimin and Wang Jian.
See "Song of Nine Friends in Painting" written by Wu Weiye in the early Qing Dynasty.
◇The Eight Jinling Schools are the collective name of eight people from the late Ming Dynasty and early Qing Dynasty: Gong Xian, Fan Qi, Gao Cen, Zou Zhe, Wu Hong, Ye Xin, Hu Zhen and Xie Sun.
The themes and styles of their paintings are different. Because they lived together in Jinling (now Nanjing, Jiangsu), they all had a certain reputation (Gong Xian was the most famous), so they were named.
See Zhang Geng's "Guochao Painting Collection" of the Qing Dynasty.
Chen Zhuo, Wu Hong, Fan Qi, Zou Zhe, Cai Linlun, Li Youli, Wu Dan and Gao Cen are also referred to as the "Eight Jinling Families", as shown in Qianlong's "Shangyuan County Chronicle".
However, the previous statement shall prevail.
◇Six Schools of Qing Dynasty The collective name of six landscape painters in the early Qing Dynasty: Wang Shimin, Wang Jian, Wang Hui, Wang Yuanqi, Wu Li and Yun Shouping.
Also known as "Four Kings, Wu and Yun".
They became famous after Dong Qichang in the Ming Dynasty. They led the painting world and influenced the current trends. They were regarded as "orthodox" at the time.
◇The Four Kings include Wang Shimin, Wang Jian, and Wang Hui among the "Six Families of the Qing Dynasty".
The collective name of the four Wang Yuanqi.
They have mentors, friends or relatives, and are directly or indirectly influenced by Dong Qichang in terms of painting style and artistic ideas.
He has deep technical skills, his painting style advocates imitation of ancient times, and many of his works are stylized.
Wang Hui and Wang Yuanqi were once banned from entering and leaving the palace, and they were famous in the north and south.
The former combines various schools of thought in the Song and Yuan Dynasties to create a complete set of paintings; the latter combines Huang Gongwang in the Yuan Dynasty, blends the essence, melts the spirit, and achieves the same goal.
The "Four Kings" had a profound influence on landscape painting in the Qing Dynasty and modern times.
From Kangxi to Qianlong, there were Wang Yu, Wang Su, Wang Jiu, and Wang Chen; later there were Wang Sanxi (also named Banghuai, nicknamed Zhuling, Yu's nephew), Wang Tingyuan (named Zanming, Jiu's eldest son)
< p> The former are called the "Little Four Kings" and the latter are called the "Later Four Kings"◇The four eminent monks in the early Qing Dynasty were Hongren (Jiang Tao), Kun Can (Liu Jieqiu), and Bada Shanren (Bada Shanren). Zhu Da) and Shi Tao (Zhu Ruoji) were both survivors of the late Ming Dynasty. Bada Shanren and Shi Tao were members of the Ming Dynasty clan and later became monks.
Both were proficient in Zen. Each has his or her own unique attainments in calligraphy and painting.
Kun, whose name is Shixi, is also known as "Two Stones" together with Shi Tao.
◇The Eight Eccentrics of Yangzhou lived in Yangzhou, Jiangsu during the Qianlong period. A general term for representative painters.
Generally refers to Wang Shishen, Huang Shen, Jin Nong, Gao Xiang, Li Wei, Zheng Xie, Li Fangying, and Luo Pin. See Li Yufen's "Bibliography of Paintings and Calligraphy in the Ou Bo Luo Room". /p>
In fact, there are more than eight people. Wang Shishen, Gao Xiang, and Luo Pin were replaced by Gao Fenghan, Bian Shoumin, and Yang Fa, or Li Fangying was replaced by Min Zhen and Gao Fenghan. Others also include Chen Zhuan or Li Yi, see Wang Jun's "Yangzhou Painting Garden Record"
His paintings mostly use flowers as themes, and also paint landscapes and figures, mainly based on the methods of Chen Daofu, Xu Wei and others. Zhu Da (Bada Shanren), Yuan Ji (Shi Tao) and others were able to break away from the stereotypes of their predecessors and express true emotions; they were also good at poetry, good at calligraphy or seal cutting, and paid attention to poetry, calligraphy and painting. The combination was different from the ancient imitation style that was popular in the painting world at that time. He was regarded as a "partial master" and a "monster" by the people of the time, so he was known as the "Eight Weirds"
Wang Jun was the "orthodox". A defender of the painting style once commented: "There are other partial masters. It is strange that there are eight names, and the painting is not integrated.
It is similar to the rules of Su (Qin) and Zhang (Yi), and the legacy of Xu (Xi) and Huang (Quan).
The rate of elimination is three strokes and five strokes, and the complex sauce is too thick (tong "rough"); Hu flatters five words and seven words, and he is happy with oil.
It’s not without its own peculiarities, but it’s time to go astray.
It shows that it is new for a while, but it only prevails for hundreds of miles. "In fact, this school not only had a considerable influence on the interest and techniques of modern freehand flower painting; but even modern Qi Baishi, Chen Shizeng, Xu Beihong, Pan Tianshou, Lai Chusheng, etc. all learned from it from some aspect.
◇The ten philosophers in the painting refer to the ten painters of the Loudong School of Painting in the Qing Dynasty
Namely Dong Bangda, Gao Xiang, Gao Fenghan, Li Shizhuo, Zhang Penchong, Li Shizhong, Wang Yange, Chen Jiale, Zhang Shiying and Chai Shen