Source/Jiangsu Pictorial? Wen/Shen Qin
Ink painting had little to do with literati before the Song Dynasty. On the contrary, there was no connection between literati and painting before the Song Dynasty.
The art of painting can only be regarded as a small skill for those literati who aspire to lofty goals, while calligraphy is the facade for literati to survive. By the time the imperial examination was held in the Tang Dynasty, calligraphy was a compulsory course for literati to gain fame and career, and those with poor calligraphy could not pass the exam. However, compared with contemporary calligraphy and painting, these two art categories have influenced each other in their respective development contexts. From the Spring and Autumn Period to the Qin and Han Dynasties, we can see from the lacquerware patterns and silk patterns belonging to the painting category that painting consciousness precedes calligraphy, and the flying and changing lines we see have already had the abstract beauty of being independently appreciated. At this time, calligraphy is more of a kind of "writing". In the Han dynasty, painters with independent consciousness began to describe everything in real life, like children, full of novelty about everything in the world. Can't wait for the preparation of new techniques to mature, naive thinking has created the most vibrant image in the history of China fine arts.
in the northern and southern dynasties, calligraphy reached its first peak before painting. The gentry have the absolute monopoly on the knowledge resources. It is logical to read, write, write and be an official. In their hands, writing has finally become an art..
However, painting is still digesting the new techniques introduced from the western regions, which are mutually external to religion and enlightenment, and far from the psychological needs of literati and the metaphysical form of calligraphy.
Finally, figure painting and calligraphy art stood at their respective peaks in the Tang Dynasty, but the status of their respective authors was not the same. Most calligraphers were senior officials, while painters were humble. Li Sixun, the pioneer of green landscape, worked in the Tang court. One day, the emperor rose up and asked them to paint in public. Li felt it was a shame to him. It can be seen that the status of painting in Tang Dynasty was lower than that of calligraphy.
since the Wei and Jin dynasties, it has been the spiritual demand of the literati to change from the life of "entering the WTO" to the pastoral life of "being born" in the Han dynasty, but the "people" who are the main body of this life are just moving to another place. Looking at Gu Kaizhi's Ode to Luoshen, it is the most accurate explanation that "man" in the picture is still the protagonist in the landscape.
in the Tang dynasty, natural landscape and frontier fortress desert became the borrowing objects of literati's calligraphy pride, and the scene blended. The "man" in the Wei and Jin Dynasties has become a mountain, a river and a desert in the Tang Dynasty in spirit. Independent landscape poetry reached its peak.
the preference of "official" literati: it will definitely affect the orientation of painting topics. Independent landscape painting started in the Tang Dynasty (the so-called "independence" is only compared with figure painting, but sulfur is not the painter's spiritual independence). Landscape painting at this time is related to the literary description of "poetry", but has nothing to do with the mood of "poetry" ... >; > >
literati painting
Wen/Du Zhesen
An important genre of traditional painting in China. In creation, it emphasizes the combination of individual expression and various arts such as poetry, calligraphy and painting, and most of the authors belong to literati with profound and comprehensive cultural accomplishment. The title of "literati painting" was first put forward by Dong Qichang in the Ming Dynasty, and its historical inheritance relationship was preliminarily expounded: "The literati painting began in Wang Youcheng, followed by Dong Yuan, Ju Ran, Li Cheng and Fan Kuan. Wang Jinqing, Minangong and Tiger, all from Dong and Ju, until Yuan Sijia Huang Zijiu, Wang Shuming, Ni Yunlin and Wu Zhonggui, all got down to business. When I am in the morning, I am Shen, and I am far away from the mantle. " Japanese art historian Nishiya Omura and China painter Chen Shiceng have made in-depth research on the artistic characteristics, identity and historical origin of literati painting. Chen Shiceng's exposition on the characteristics of literati painting, that is, the theory that "the elements of literati painting, the first character, the second knowledge, the third talent and the fourth thought, with these four, can be empty and good", has had a certain influence in society.
The formation and development of evolution literati painting is a cultural phenomenon caused by many factors in China feudal society, and it has a long evolution process. As early as the Jin Dynasty, some painters' creative ideas and artistic pursuits in their creation, such as Wang□' s idea that painting is my own painting, Zong Bing's theory of "relaxing spirit", Wei Wang's emphasis on emotional elements in creation, and Gu Kaizhi's theory of "form and spirit", should all be regarded as the origin of literati painting. In the Tang Dynasty, after Wang Wei lived in seclusion in Wangchuan, ink painting, which embodies his artistic concept and aesthetic taste, has a more distinctive feature of literati painting. Dong Yuan and Ju Ran in the Five Dynasties pursued plain innocence and pen and ink charm in landscape painting creation, which provided direct artistic norms for the development of literati painting. In the Northern Song Dynasty, Wen Tong, Su Shi, Mi Fei and others were widely admired and influenced by literati painting in their creative practice and theoretical criticism, which made literati painting become an influential artistic trend of thought and began to differentiate from college painting and painter painting. However, the heyday of literati painting was in the Yuan Dynasty, and many literati bred the psychology of world-weariness and escapism, and regarded painting as a means of personal spiritual self-adjustment. In this process, Zhao Meng and Ke Jiusi emphasized painting with books, Qian Xuan put forward the theory of "morale", Ni Zan advocated the idea of "self-entertainment", and more painters took the symbolic Mei Lanzhuju (known as the "Four Gentlemen" in history) as their own performance theme to flaunt their personal sentiments. In this way, the painter's subjective consciousness has been further strengthened, and the artistic concept and aesthetic ideal of literati and officialdom have been more prominent in their creation. By the Ming Dynasty, literati painting had risen to the leading position in the painting world, which directly affected the basic pattern and aesthetic orientation of painting in the Qing Dynasty and formed a painting system with unique national characteristics. Zhu Da, Shi Tao and Yangzhou Eight Eccentrics broke through the barriers of the Four Kings and created a new situation. Literati painting influenced modern Qi Baishi, Pan Tianshou and others through Zhao Zhiqian and Wu Changshuo.
Characteristic literati painting is a comprehensive art, which integrates literature, calligraphy, painting and seal cutting. It is a concentrated expression of the painter's various cultural qualities, especially with calligraphy. The combination of points, lines and strokes in calligraphy is not only the basic element of artistic image, but also an important object of appreciation with independent aesthetic value. The unique rhythm and rhythm formed by the severity of the brush stroke and the density of the dotted line should reflect the unique mentality, temperament and personality of the painter 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 trace is 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 was that he pioneered 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 has never taken the real representation of things as its creative purpose, but has taken revealing the inner charm of things as its highest artistic pursuit. Based on this purpose, the unique aesthetic thought of the nation has been formed, that is, abandoning gaudiness, only taking truth and simplicity, paying attention to painting after the event, returning to simplicity and simplicity, being clumsy and so on, which have become the conscious pursuit of literati painters in art. The formation of the characteristics and system of literati painting is also related to the fact that literati regard painting as a means of spiritual adjustment. For these painters, creation only plays a role of relaxing the collaterals. In this way, instead of serving things and being restrained by law, the simplest tools (pen, ink and paper) and the most generalized language (black, white and gray) convey the deepest feelings and become creative.
Based on the above characteristics, it is decided that literati paintings tend to converge in theme selection, that is, landscapes, flowers and birds, especially plum, orchid, bamboo and chrysanthemum, have become traditional performance themes. Relatively speaking, the theme is relatively narrow. In order to overcome this limitation, the inscription plays an important role in deepening the theme and enriching the meaning. The same theme, with different meanings, can reveal the different creative intentions and artistic pursuits of each painter (or different works of the same painter).
a freak-the accident of "literati painting"
Source: Jiangsu Pictorial? Text: Shen Qin
Ink painting had little to do with literati before Song Dynasty. On the contrary, there was no connection between literati and painting before the Song Dynasty.
The art of painting can only be regarded as a small skill for those literati who aspire to lofty goals, while calligraphy is the facade for literati to survive. By the time the imperial examination was held in the Tang Dynasty, calligraphy was a compulsory course for literati to gain fame and career, and those with poor calligraphy could not pass the exam. However, compared with contemporary calligraphy and painting, these two art categories have influenced each other in their respective development contexts. From the Spring and Autumn Period to the Qin and Han Dynasties, we can see from the lacquerware patterns and silk patterns belonging to the painting category that painting consciousness precedes calligraphy, and the flying and changing lines we see have already had the abstract beauty of being independently appreciated. At this time, calligraphy is more of a kind of "writing". In the Han dynasty, painters with independent consciousness began to describe everything in real life, like children, full of novelty about everything in the world. Can't wait for the preparation of new techniques to mature, naive thinking has created the most vibrant image in the history of China fine arts.
in the northern and southern dynasties, calligraphy reached its first peak before painting. The gentry have the absolute monopoly on the knowledge resources. It is logical to read, write, write and be an official. In their hands, writing has finally become an art..
However, painting is still digesting the new techniques introduced from the western regions, which are mutually external to religion and enlightenment, and far from the psychological needs of literati and the metaphysical form of calligraphy.
Finally, figure painting and calligraphy art stood at their respective peaks in the Tang Dynasty, but the status of their respective authors was not the same. Most calligraphers were senior officials, while painters were humble. Li Sixun, the pioneer of green landscape, worked in the Tang court. One day, the emperor rose up and asked them to paint in public. Li felt it was a shame to him. It can be seen that the status of painting in Tang Dynasty was lower than that of calligraphy.
since the Wei and Jin dynasties, it has been the spiritual demand of the literati to change from the life of "entering the WTO" to the pastoral life of "being born" in the Han dynasty, but the "people" who are the main body of this life are just moving to another place. Looking at Gu Kaizhi's Ode to Luoshen, it is the most accurate explanation that "man" in the picture is still the protagonist in the landscape.
in the Tang dynasty, natural landscape and frontier fortress desert became the borrowing objects of literati's calligraphy pride, and the scene blended. The "man" in the Wei and Jin Dynasties has become a mountain, a river and a desert in the Tang Dynasty in spirit. Independent landscape poetry reached its peak.
the preference of "official" literati: it will definitely affect the orientation of painting topics. Independent landscape painting started in the Tang Dynasty (the so-called "independence" is only compared with figure painting, but sulfur is not the painter's spiritual independence). Landscape painting at this time is related to the literary description of "poetry", but has nothing to do with the mood of "poetry".
Looking at the green mountains and green waters in the Tang Dynasty is basically a color map.
The monarchs of five generations of small countries lived day by day, and they couldn't afford to make a big storm, just wrote poems and painted pictures to live. The emperor in Nanjing devoted himself to writing poems and cultivating painters, while the emperor in Sichuan set up an art academy. The status of a painter has naturally improved a lot, but there is no sideline that meets with "literati" and "calligraphy".
Because I am an amateur, I can't talk about the reproducible painting method under complex techniques. Another difficulty is the investment in time. The main business is a politician's literati amateur painter. How much time can I leave for painting after intrigue in the officialdom? Therefore, the clever Su Dongpo can only find another way. Calligraphy is their strong point, so they should use the standard of calligraphy to evaluate paintings.
Because they are literati, they have theories; Because it is in a high position, it has influence.
Advocating their theories by their influence was just a joke in the Song Dynasty, but calligraphy finally met painting. The meeting of the two most perfect categories in China's art history-"Calligraphy" and "Song Painting" is really a tragedy in China's art history! Two extreme languages, realism and abstraction, will be hybridized into nondescript "literati painting" in future generations. Writing here, I just want to pay tribute to China's paintings.
The foreign invasion of Yuan Dynasty changed the direction of China's painting, but it fulfilled Su Dongpo's joke.
since the Han dynasty, the literati, who have always been the social leaders, suffered a psychological blow after the national subjugation, which will never be as easy as that described in the art history of later generations.
Han people are reduced to the lower class of society, and the Han people in the south of the Yangtze River, where scholars gather, are even lower among the lower classes, and their social status is the lowest in the history of China, ranking behind prostitutes and beggars. The damage and humiliation of personal dignity can't be imagined! The abolition of the imperial examination is a fatal blow to the literati. This time, the literati will really retire to the mountains and forests (before that, "retirement" has always been the psychological home of the literati, and career access is their real heart).
Life and dignity have plummeted, and painting poems has become a good way for idle literati to kill time and forget their pain after "studying hard".
However, this change in study time is not enough to make people go home to abandon such exquisite "Song paintings" and create degraded "literati paintings".
The real change in painting style is due to economic reasons. In the Song Dynasty, there was a royal family to support painters, which paved a field for talented but poor painters to display their talents. How many geniuses can they produce in a hundred years? Self-employed in the Yuan Dynasty, I don't know how many geniuses were cut off with this knife. Then there are only a few aristocratic literati left, and they can still take on the amateur "freehand brushwork" with their savings. What can they paint without freehand brushwork?
There are endless silks in the palace of the Song Dynasty for a large number of artists to create exquisite and realistic landscapes, paintings and flower-and-bird paintings. This expensive silk material in the Yuan Dynasty was absolutely unaffordable by itself. Besides, you have to have a place to buy it if you have money. According to records, at the beginning of the Yuan Dynasty, a large area of mulberry trees in the south of the Yangtze River was destroyed, and the development of silk industry was stagnant. What little silk was left for the Mongols to use?
this is the great change that we have seen in later generations. Once in Yuan Dynasty, the "realistic" method of painting with silk materials became the "freehand" method of life propaganda.
The change of painting materials is decisive for the change of painting methods. It is almost impossible to use the mature halo-dyeing method in the Song Dynasty in biological propaganda. Give up the "smudge method", dot with dry pen and draw quickly with wet pen on the paper of health promotion. If it is not "freehand brushwork", what else can it write?
Another reason is that a large number of Tibetan paintings in the Song Palace are very helpful to painters. After entering the Yuan Dynasty, it is definitely hard to see any painter. There may be a few pieces hidden in the literati family, but it is the custom of China people not to let the family hide them. Close the door and open it occasionally, so how many talents will be cut off from the Song painting.
The reality of poetry, which can only be created on silk, can't be felt at all in the propaganda.
How can a woman's painting not show poetry? In order to make up for the lack of poetry, she simply wrote "poetry" in skilled calligraphy, and literati painting was born!
The paintings in Song Dynasty have poems in them. Since then, the painting is to write poetry in the painting.
Literati's literary spirit only shows off in written poems. In the past, the calligraphy created by literati can only be seen on loofah vines and grapevines after painting.
a freak, which we thought was characteristic. A painting has everything, but poetry, books, paintings and seals, and nothing can be seen in a painting. This is "literati painting".