Looking back on the development of Confucianism, Buddhism and Taoism, the core idea of China's culture, it is found that the top ten painters have deep roots with Confucianism, Buddhism and Taoism.
Keywords: the origin of Confucianism, Buddhism and Taoism of the top ten painters in ancient China
First, the top ten painters in ancient China
Wang Shen 1
Jin Qing, a famous painter in Song Dynasty (1036—— about 1093), was born in Taiyuan, Shanxi, and lived in Kaifeng.
With the combination of talent and diligence, Wang Shen is not only an outstanding painter, but also omniscient in contending, poetry and calligraphy, and even omniscient in piano, chess, calligraphy and painting, and music techniques. It can be said that he is a rare all-rounder
At that time, famous cultural elites such as Su Dongpo, Mi Fei and Huang Tingjian were friends of Wang Shen, and many anecdotes between Wang Shen and these celebrities are still talked about by calligraphy and painting circles and collectors. These like-minded literati often get together in Wang Shen's home, making love to the moon, splashing ink, admiring Wang Shen's famous paintings and calligraphy, talking about Zen from time to time and criticizing the current abuses. Wang Shen has many friends. Even Li, a famous painter who has lived in the capital for ten years without visiting the powerful door, is a frequent visitor to his seat. Li once described the gathering of sixteen people, including Su Dongpo, Su Zhe, Mi Fei, Huang Tingjian and Qin Guan, in the famous "Garden of the West". Another painter, Miffy, also left a similar narrative in his works. The elegant collection of the West Garden later became the common creative theme of painters of all ages.
2. Li
An outstanding painter in the Song Dynasty, a native of Tongcheng, Anhui Province, passed the three-year entrance examination in Xining (1070). Fu Yuan (philosopher Zhao Xu), a former imperial adviser, resigned from his post and lived in seclusion in Longmian Mountain for three years (1 100), hence the name "Longmian layman".
He is so knowledgeable and expert. Not only can you draw pommel horses, immortal Buddhism and Taoism, but you can also draw landscapes, flowers and birds. He copied a lot of traditional paintings, attached importance to sketching and dared to be original. The characters in his works can distinguish identity, region and personality from their appearances. In painting, he is famous for drawing lines. This kind of good use of line drawing is mostly sketching without coloring, with accurate modeling and vivid expression, thus pushing the traditional line drawing modeling method to a new level.
3.miffy
Song Dynasty (1051-1107) painter. Character seal,No. Xiangyang Manchu. Originally from Taiyuan, Shanxi, I settled in Zhenjiang, Jiangsu. He is called "Mi Dian" because of his eccentric personality and crazy behavior, and he is called "brother" when he meets a stone. Zhao is a doctor of calligraphy and painting, known as Guan. Mi Fei is good at poetry, calligraphy and painting, and his appraisal is accurate. He is a painter, appraiser and collector. He is one of the "four calligraphers of Song Dynasty" (Su, Mi, Huang and Cai) and is second to none. Mifei is good at poetry and writing, especially at painting and calligraphy. Mi Fei studied hard all his life and made the greatest achievement in calligraphy. They are also called "Song Sijia" with Su Shi, Huang Tingjian and Cai Xiang. Mi Fei is the author of History of Books, History of Painting and Famous sayings of Haiyue. He made many criticisms of his predecessors, but never followed the old saying, which was highly praised by calligraphers of all ages.
4. Mi Youren
Southern Song Dynasty painter. A Yin Ren, Huang Tingjian jokingly called him a "tiger". Originally from Taiyuan (now Shanxi), he moved to Xiangyang (now Hubei) and settled in Runzhou (now Zhenjiang, Jiangsu). Mifei's eldest son, known as "Xiaomi". In his early years, he was famous for being good at calligraphy and painting. Hui Zong xuanhe four years (1 122), should choose a calligrapher. Landscape painting developed Mi Fei's technique, and its brushwork was sloppy, calling itself "ink play", which had an influence on the pen and ink form of later "literati painting".
5. Wang Hao
Yuan Dynasty painter, the word Meng Duan, friend Shi Sheng, from Wuxi. Smart and studious since childhood, 10 can still write poems. After Wang Bao was recommended to Beijing. But he has always been arrogant and does not seek fame and fortune, so he soon returned to his hometown to live in seclusion after entering Beijing. In the thirteenth year of Hongwu, he was assigned to Datong, Shanxi, and served as a garrison soldier 10 for more than 0 years. In the second year of Wen Jian (1400), he returned to his hometown and lived in seclusion in Jiulong Mountain (Huishan), where he painted poems and taught his disciples. It has a certain influence on Wu Pai landscape painting.
6. Li Sixun
Painters and calligraphers in Tang Dynasty. Words are made, and scenery is made. Si Xun was appointed as our ambassador in Jiangdu (now Yangzhou County, Jiangsu Province) around the age of twenty. At that time, Wu Zetian came to power. She slaughtered Li Tang's imperial clan, while Li Sixun abandoned his official position and lived in seclusion. During his seclusion, he studied hard, especially practiced landscape painting, and soon enjoyed the world of famous paintings. In the first year of Shenlong (705), Zhou was abolished, and he was appointed as the imperial clan of Emperor Taizong, and the official was General Youwuwei. Calligraphy, especially good at painting landscapes, trees and stones, is vigorous and powerful, with fine style. It is easy to write about the scenery of "waves and clouds", and resplendence is the family law. Birds and beasts are in poor condition and often decorate the winding rock ridges with fairy tales. This kind of landscape painting with turquoise as the quality and gold and jade as the grain is rich in decoration.
7. Ni Zan
Yuan Dynasty (130L- 1374) painter, a word town, was a famous layman and often used Yunlin as a poet and painter. In the fifth year of Yuan Dade (130 1), Ni Zan was born in Meilituo Village, Wuxi City. Grandpa is a big landlord in his hometown, with rich family and rural areas. My father died a long time ago. Ni Zhaokui, the third brother and half-brother, was an elite figure in Taoism at that time. Ni Zan was raised by his eldest brother since childhood, and his life was extremely easy and carefree. Ni Zhaokui invited fellow countryman "real person" Wang Renfu as his mentor. Influenced and educated by such a family, Ni Zan developed his own unusual attitude towards life, lofty and detached, totally abstaining from politics, immersed in poetry and painting, which was quite different from the Confucian ideal of the world. So, at the end of my life.
Besides studying classics carefully, I also dabble in Buddhist and Taoist books. Ni Zan has a wide range of friends, most of whom are monks, Taoists, poets and painters. Ni Zan is a painter with a unique personality. His calligraphy, as a master of wild rhyme, participated in Zen and learned Taoism and traveled all over the world. With the charm of ice and snow, he wrote his unique simple, simple and simple style. Ni Zan's three poems, calligraphy and painting.
8. Gu Kaizhi
Painter of the Eastern Jin Dynasty (348-409), Chang Kang, was born in Wuxi, Jinling. Gu Kaizhi is knowledgeable and talented. He is good at poetry and calligraphy, especially painting. Specializing in portraits, Buddha statues, animals, landscapes, etc. People call it the three musts: painting, writing and infatuation. Xie An is so deep that he thinks it has not existed since its birth. Gu Kaizhi, Cao Buxing, Lu Tanwei and Zhang Sengyou are also called "Four Masters in Six Dynasties". It laid the foundation for the development of traditional painting in China.
9. Wei Xu
An outstanding literary artist in the Ming Dynasty (152 1- 1593), whose characters were clear and later changed to long characters, has Ivy, Tianchi and Tian Shuiyue in posthumous title. He is from Yin Shan. Xu Wei is versatile, with profound attainments in painting, calligraphy, poetry, opera and other fields. He is unique and has left a far-reaching influence on present and future generations. His paintings can absorb the essence of predecessors, and he is the originator of the Ivy League. His book is unique in the study of "Eight Laws through the ages" and has the reputation of "a sage who scattered eight laws". The brushwork is strong, the heart is strong, the charm is charming, and it is unrestrained and unique. Xu Wei's calligraphy is especially good at cursive script, and he can blend it with the brushwork of official script, which is particularly original.
Zhu Da 10
A great master of freehand brushwork in the late Ming and early Qing Dynasties (1626— 1705), with the word "snow" and "Bashan people". Nanchang, Jiangxi. Zhu Quan, the son of Zhu Yuanzhang in Ming Dynasty, is a descendant of Ning. I have been extremely smart since I was a child, and I have received a good artistic influence. At the age of eight, I can write poetry, and at the age of eleven, I can draw mountains and rivers and study politics. At the age of 23, he shaved his hair and became a monk. He was given his own name and passed on to the Temple of Blade. At the age of 31, he is called a master, and there are often more than 100 scholars. In the seventeenth year of Kangxi (1678), at the turn of summer and autumn, he fell ill with epilepsy. In the 19th year of Kangxi (1680), he returned to the secular world. After that, he lived in Nanchang, Jiangxi, where he devoted himself to poetry, calligraphy and painting until his death.
The Eighth National Congress experienced great changes during the Ming and Qing Dynasties, from the nobles of the royal family to the uninhibited people, and they became monks to avoid disaster. However, his poems, calligraphy and painting were both excellent and quite eye-catching, and the rulers of the Qing Dynasty tried their best to win them over, so he went crazy. He is deaf but not crazy, all because of his hatred for his motherland. This shows his inner sadness. Badashan people are famous for their freehand brushwork in ink and wash, and are good at landscapes, flowers and birds, figures, especially flower-and-bird paintings. In the confrontation between conservatism and innovation in the early Qing dynasty, he became the host of the four major painting styles of the reformists.
Second, the maturity of China's ancient artistic spirit.
1, cultural background
-on the balance of the three religions: the conflict and integration of Confucianism, Buddhism and Taoism
From the Eastern Jin Dynasty to the Sui and Tang Dynasties, China culture gradually established a basic pattern with Confucianism as the main body, Confucianism, Buddhism and Taoism as their flags, and at the same time, they cooperated with each other and complemented each other for social use. China's traditional culture is a culture in which Confucianism, Buddhism and Taoism stand together and blend with each other.
1, Confucianism and Taoism
Among many schools of thought contending for a hundred schools of thought, Confucianism and Taoism are the most abundant. Moreover, both Confucianism and Taoism have great inclusiveness and internal mechanisms of self-development and constant renewal, so they have gradually become representatives of many schools of thought.
China culture is constantly developing and enriching in the separation and integration of a hundred schools of thought.
In Han Dynasty, Confucianism and Taoism absorbed hundred schools of thought extensively, fully developed and enriched themselves, and established their status as the representative school of China culture. The social demand for ideology and culture is diverse and rich, not single. However, as many China thinkers have said, this kind of diversity also needs to be "integrated with the Sect and combined with the Yuan Dynasty" (Wang Bi's A Brief Example of Zhouyi Mingbi), that is, it needs a leader.
Dong Zhongshu, a great scholar in the Western Han Dynasty, suggested to Emperor Wu that "those who are not subjects of the Six Arts (Six Classics) but those who are proficient by Confucius should not go hand in hand", which is the basis for Emperor Wu to "oust a hundred schools of thought and respect Confucianism alone" in the future.
2. The core of Confucianism and Taoism.
The core of Taoist thought is inaction, advocating and relying on nature; The core of Confucianism is promising, emphasizing famous education (etiquette) and standardizing human nature.
2. 1 Taoist thought
People often understand the inaction of Taoism as passive escape and inaction. Generally speaking, the Zhuangzi School of Taoism tends to be passive and inaction, and what they pursue is a kind of "forgetting" (Zhuangzi? The great master) and the narcissistic spiritual realm of "I lost myself" (the same as the previous theory of everything). But the inaction mentioned by the Taoist school of Laozi is not completely negative. Laozi's so-called inaction mainly means "assisting the nature of all things and not daring to do it" (Chapter 64 of Laozi). What he emphasized was "being born with nothing, doing things without relying, being long without killing" (the same as in the first 51 chapters), and "not seeing yourself", "unnatural", "not cutting yourself" and "not boasting" (the same as in the first 22 chapters), that is, not being smart, self-righteous, not taking credit and not boasting. Therefore, Lao Tzu's inaction is not doing nothing, but advocating doing something without relying on it. It is to retreat for progress, to seek perfection with joy, and to be soft and rigid.
As far as its positive spirit is concerned, Taoism's inaction is for better success, and even goes to great lengths. Confucianism also respects the laws of nature extremely, emphasizing that human beings must act in accordance with the laws of nature in production activities.
2.2 Metaphysics
It was metaphysics in Wei and Jin Dynasties that tried to integrate Confucianism and Taoism, and it was quite successful.
As we said above, Confucianism emphasizes the teaching of naming (ceremony) to standardize human nature, while Taoism advocates obeying nature and relying on nature. Therefore, Confucianism and Taoism are the theoretical themes and the focus of debate respectively. The Confucian theory of Mingjiao came into being in feudal times, which served to maintain the feudal ruling order.
Taoism, especially the Zhuangzi School, holds that individuals are superior to social people. They advocate following nature and relying on nature, that is to say, we should rely on individual's natural nature to develop freely, and don't use social etiquette and other norms to interfere with and bind individual behavior. He clearly put forward the view that human nature should not be obliterated by social etiquette and legal system norms. The theoretical task of metaphysics is how to harmoniously unify the contradiction between Taoism and nature. The famous Confucian religious theory has been plagued by abuses since the end of Han Dynasty. It is not only a means for rulers to oppress and restrain the people, but also a tool for some treacherous people to seek fame and fortune, which greatly corrodes the social atmosphere. Metaphysics inherited the disadvantages of the famous religion in the late Han Dynasty, so it first affirmed the fundamental and rationality of human nature and praised and advocated the Taoist theory of nature. At the same time, it tries to reconcile the contradiction between natural nature and Ming religious norms, so as to make them harmonious and unified.
Wang Bi, one of the founders of metaphysics, believes that emotions are everyone's nature, even saints. He pointed out that fundamentally speaking, people's moral behavior is the true feelings and natural expression of people, such as "natural love for filial piety" to parents (The Analects of Confucius). Therefore, all norms of social ethics should reflect the natural nature of human beings, and only based on the natural nature of human beings can we better play the social role of ethics.
3. Buddhism
Buddhism is a foreign culture introduced from India in the Han Dynasty. During the late Han and Three Kingdoms periods, Buddhist scriptures were gradually translated, and the Eastern Jin Dynasty began to translate Buddhist scriptures on a large scale. Since the Eastern Jin Dynasty and the Southern and Northern Dynasties, with the expansion of the influence of Buddhism and the local people's in-depth understanding of Buddhist teachings, the differences and contradictions between Buddhism, a foreign culture, and the local culture have been exposed. Then, the conflict between the two inevitably broke out. At that time, the local culture in China was represented by Confucianism and Taoism, so the conflict between Buddhism and local culture was manifested in the conflict between Buddhism and Taoism and Buddhism and Confucianism.
The most direct conflict between Buddhism and Confucianism is that the localization of Buddhism and the system of becoming a monk obviously violate the ethics advocated by Confucianism. Therefore, the focus of the struggle between the two factions mainly focuses on whether the birth and becoming a monk of Buddhism violates China's traditional filial piety and loyalty.
Theoretically, the struggle between Buddhism and Confucianism and Taoism at that time mainly focused on the existence and elimination of God, karma and other issues.
At the beginning of the introduction of Buddhism, in order to make China people understand the thought of this foreign religion, a large number of traditional terms and concepts of Confucianism and Taoism were borrowed to explain some terms and concepts of Buddhism. The integration of metaphysics and Buddhism has become an important trend in the development of metaphysics in the Eastern Jin Dynasty.
Theoretically, it has widely absorbed the Confucian mind, the doctrine of the mean, the natural inaction of Taoism, and even the five elements of Yin and Yang. It is through these numerous changes that during the Sui and Tang Dynasties, Buddhism completed its self-adjustment in form and theory, realized the basic coordination with China traditional culture, and formed a number of Buddhist sects with China characteristics. Intellectuals since the Tang and Song Dynasties, whether they believed in Buddhism or opposed to Buddhism, all went in and out of Buddhism. In other words, Buddhist culture at this time has become an indispensable part of the knowledge structure of ordinary intellectuals. It is no exaggeration to say that without Buddhism, it is impossible to truly understand and grasp the history and culture of China since the Eastern Jin, Southern and Northern Dynasties, especially after the Sui and Tang Dynasties.
After Buddhism was introduced, its rich and profound metaphysical theory had a great impact and stimulation on Confucianism, which once attracted a large number of outstanding intellectuals to explore its mystery in Buddhism.
4. Neo-Confucianism
People often attribute the germination of Neo-Confucianism in Song and Ming Dynasties to Han Yu and his disciple Li Ao. Han Yu's influence on Neo-Confucianism in Song and Ming Dynasties mainly lies in his orthodoxy. Li Ao's contribution to Neo-Confucianism in Song and Ming Dynasties is that he pointed out a way to explore the metaphysics of Confucian theory of mind and nature. In Han Yu's view, he still followed the traditional Confucianism, that is, he paid more attention to the discussion of specific moral principles. For example, in the article The Original Road, he said: "Benevolence is the name, but morality is empty", which greatly criticized the morality of Buddha and Lao, revealing that he was not interested in discussing metaphysical issues. However, his disciple Li Ao showed great interest in exploring metaphysical theory. Influenced by Buddhism, he wrote three renaturation books to explore the metaphysical theory of Confucianism. Explaining the intention of writing this article, he said: "Although there are books of life, scholars can't solve them, so they all enter the village, column, old age and history. Those who don't know, that is, master's disciples, are not poor enough, and believers are also. If you have questions for me, I will spread them with what I know. Written in books, there are sources of openness, and there is a lack of ways to abandon and not promote, which can be passed on to the time. " So, what books did he find that gave full play to the Confucian way of life? Judging from the contents he quoted and enumerated in Renaturation Book, mainly Yi and The Mean. Since then, Neo-Confucianism in Song and Ming Dynasties has played the role of Confucian theory of human nature to compete with Buddhism, and its basic classics are mainly Yi and The Doctrine of the Mean. The five philosophers of the Northern Song Dynasty (Zhou Dunyi, Zhang Zai, Shao Yong, Cheng Hao and Cheng Yi) who initiated Neo-Confucianism all established their own theories by expounding Yi-ology. Zhu, a master of Neo-Confucianism, further elaborated systematically, adding four books, namely, The Great Learning, The Doctrine of the Mean, The Analects of Confucius and Mencius, to the basic classics of Confucianism on the way of life. Therefore, it is very reasonable to trace the germination of Neo-Confucianism in Song and Ming Dynasties back to Han and Li in Tang Dynasty.
Neo-Confucianism takes it as its duty to inherit the orthodoxy of Yao Shun, Yu, Tang, Wen, Wu, Kong and Meng and revive Confucianism. However, the Confucianism they revived was not entirely the original Confucianism in the pre-Qin period. On the one hand, the metaphysical theory of Neo-Confucianism is deeply influenced by metaphysics, such as the "natural and reasonable" theoretical form advocated by metaphysics, which is actively accepted and developed by Neo-Confucianism. On the other hand, Neo-Confucianism is also deeply influenced by Buddhist theory. For example, Neo-Confucianism stresses "peace of mind", "naturalness", "body and use are one source, micro-seamless" and "difference in reason", which are closely related to Buddhist thought. Therefore, Confucianism represented by Neo-Confucianism is different from pre-Qin primitive Confucianism in theoretical form. Many specific moral norms of primitive Confucianism in the pre-Qin period added many metaphysical truths to the hands of new Confucianism.
Confucianism, Buddhism and Taoism (or "three religions") in China culture absorb and merge with each other in the conflict; The cultural policies pursued by the rulers of past dynasties also emphasized the combination of the three religions in most periods. Zhao Shen, a southern Song Xiaozong, said: "Treat the mind with Buddhism, the body with Taoism, and the world with Confucianism."
Third, the origin of the top ten painters and Confucianism, Buddhism and Taoism
1, dynasty analysis
Gu Kaizhi Li Gong Linmi Fermi Wang Youren Ba Li Sixun Ni Wang Zan Xu Shen Zhu Weida
Eastern Jin, Song, Song, Yuan, Tang, Song, Ming and Qing Dynasties
2. Life experience
(1) Lost lives: Xu Wei, Wang Shen, Wang Bao, Zhu Da.
(2) Seclusion in mountain forests: Ni Zan, Mi Fei.
(3) Noble families: Gu Kaizhi, Li, Mi Youren,.
3. Personal cultivation
Gu Kaizhi Li Gong Linmi Fermi Wang Youren Ba Li Sixun Ni Wang Zan Xu Shen Zhu Weida
Master Gong and calligraphy are ancient and knowledgeable. They are good at evaluating Mi Fei's poems, calligraphy and painting, and their appraisal is accurate. They are painters, collectors and connoisseurs. A hundred schools of thought contend, calligrapher, collector, connoisseur of poetry and calligraphy, playing the piano, chess and piano, good at calligraphy. In addition to studying classics carefully, he also dabbled in Buddhist and Taoist books. Song was smart and studious since he was a child. 65,438+00 years old, able to write poetry instead of calligraphy and painting, poetry, drama and other fields, reading thousands of books has deep attainments. There is no doubt about it. If you travel to Wan Li, you will see a big hand.
4. The cultural background behind everyone.
Pay attention to the influence of thought, personality, knowledge and talent on painting creation. Their culture and calligraphy are very high.
(1) Confucianism: Xu Wei, Wang Bao, Mi Fei, Gu Kaizhi, Li, Mi Youren.
(2) Interpretation: Zhu Da
(3) Road: Ni Zan
Four. conclusion
To reach the peak of art, the prosperity of culture and the accumulation of personal knowledge are essential. The top ten painters are lucky because they have lived in "I'm glad you came" all their lives. They use painting to interpret the cultural connotation of Confucianism, Buddhism and Taoism, and use Confucianism, Buddhism and Taoism to guide painting.
Bibliography:
1, The Cultural History of China was published in Huacheng.
2. "Confucianism, Buddhism and Taoism in China Culture" is magnificent.
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