During the Southern Song Dynasty, literati painting was not only further discussed in theory, but also made remarkable achievements in practice. Mi Youren's Yunshan Mo, Mo Mei and Zhao's narcissus orchids are all cherished by the world. Plum, orchid, bamboo and chrysanthemum, known as the "four gentlemen", are still valued by painters and have basically become the fixed themes of literati paintings in the Southern Song Dynasty.
Song Dynasty is a period of unprecedented development of ancient flower-and-bird painting, which has made great achievements. The ornate walls of the palace make flower-and-bird painting occupy an important position in aristocratic art, and the needs of the middle and upper classes in society and the craft decoration also promote the development and activity of flower-and-bird painting. Like landscape painting, flower-and-bird painting in the Northern Song Dynasty was developed on the basis of five generations of flower-and-bird painters. Huang Quan and Xu Xi, famous flower-and-bird painters in the Five Dynasties, lived in the early Song Dynasty. Their descendants Huang Jucai and Xu Chongsi were good at flower-and-bird painting, which had a great influence on the development of flower-and-bird painting in the Song Dynasty. In particular, the meticulous sketch method pioneered by Huang Quan and Huang Jucai was regarded as a norm of flower-and-bird painting by the court painting academy in the early Song Dynasty 100. After the Northern Song Dynasty, new flower-and-bird painters appeared constantly, such as the innovative flower-and-bird painter Cui Bai (1 1 century) and Zhao Chang, who claimed to be "sketching Zhao Chang". They made innovations in breaking through the shackles of the theme of "courtyard painting", but basically maintained a purely objective description. Cui Bai's Two Birds Playing with a Rabbit and Zhao Chang's Butterfly are obvious examples.
Flower-and-bird painting in the Northern Song Dynasty, represented by courtyard painting, can objectively describe and pay attention to sketching. In order to please the rulers, even the emperor personally participated in painting creation, and they had extremely leisure and superior conditions to develop the pursuit of detail to the peak. For example, Song Huizong was a famous flower and bird painter in the Northern Song Dynasty. When he was in charge of the Palace Painting Academy, he asked the flower-and-bird painters in the academy to study whether peacocks should lift their left feet or their right feet first. Chinese rose flowers should show different changes in stamens and leaves at different times. The pursuit of such details is an important aesthetic standard of the Royal Academy of Painting. Courtyard flower-and-bird painting in the Northern Song Dynasty pays attention to sketching and even deliberately pursues the artistic style of true details, which is the mainstream of flower-and-bird painting in the whole Song Dynasty. At the same time, the development of courtyard flower-and-bird painting laid the foundation for the rise of literati flower-and-bird painting, which was also the necessity of the formation of political system and painting at that time.
In the Song Dynasty, there was a flower-and-bird painting trend in addition to the Palace Painting Academy, which was not dominant, but had a great influence on later literati's flower-and-bird painting, that is, the flower-and-bird painting represented by Wen Tong, Su Shi's ink bamboo, Yang Tianqi's ink plum and Zheng Sixiao's orchid no longer emphasized practical sketch, but emphasized lyrical borrowing scenery. Under the influence of this artistic trend, the so-called "Four Gentlemen" (Meiju) theme in traditional flower-and-bird painting has become increasingly popular, and this trend has been greatly developed in the Yuan Dynasty when literati painting flourished.
The "literati painting" known to later generations originated from the "literati painting" proposed by Su Shi in the Song Dynasty. The literati painters in Song Dynasty were not professional painters, but amateur creations of literati and officialdom. In the middle and late Northern Song Dynasty, literati painting formed a unique system. Their paintings are lyrical and expressive, not completely constrained by formal methods, but freehand brushwork in ink and painting plum and bamboo to show noble character. I love to write Lanju to show my mind, and its perfect taste is different from that of Seiko College and professional painters. It is said that Zhu Mo flourished in the late Tang Dynasty and the Five Dynasties, but it was Wen Tong in the Northern Song Dynasty who made great achievements and had a great influence on later generations. He used to be a doctor in the capital, collecting talents and proofreading, then served as a local official in four kinds of Lingzhou and other places, and then transferred to Huzhou, but he did not take the lead. Su Shi called his poems, books and paintings the four musts. He loves painting ink bamboo and has had in-depth observation and experience of bamboo. He claimed that "painting bamboo must be done in the chest, and he was familiar with it." When he sees what he wants to draw, he starts from it and vibrates straight to catch up with what he sees, such as a rabbit falling and dying if it is not so vertical. " Although popular, it is mature. The "Zhu Mo" painted for him has a true axis shape and a rigorous and free-and-easy style. His ink bamboo created Huzhou Bamboo School. Writer Su Shi is also good at ink bamboo, and is said to have painted bamboo and the like. The legend of Mo Mei began with Huaguang monk in the Northern Song Dynasty, and Yang Bu made the highest achievement. Ou Yangxun, a calligrapher, "paints a plum blossom with strokes". His ink plum is elegant and leisurely, which is quite different from the delicate image created by college paintings.
In the spirit of literati painting, Mei Lanzhu was endowed with moral character, and his painting mentality and emotion were expressed outside the painting, such as "Four Gentlemen's Painting" and "Three Friends in Cold Years". Sometimes it is "unintentional writing" and writing about yourself crazily. It was formed in the Song Dynasty, flourished in the Ming and Qing Dynasties, and became a unique category in traditional painting.
The mainstream of flower-and-bird painting in Yuan Dynasty is to develop into literati painting, and there are few people in the painting academy who are rich in meticulous brushwork. Literati ink painting plum bamboo freehand brushwork flourished, showing great changes in the field of flower-and-bird painting. Although the author of literati painting used to be a court teacher and a master of color, he developed in literati painting. At this time, the representative figures are Zhang Zhong, Wang Mian, Ke and others, such as early teachers, especially the court painting master Huang Quan, who is famous for his ink painting style of flowers, birds, trees and stones. Flowers and birds are subtle, rigorous and elegant in ink painting, showing the style of turning flowers and birds into literati interest. In Zhang Zhong, he also painted flowers and birds with ink, which is rough and simple compared with Wang Yuan.
The formation of "literati" flower-and-bird painting has injected new consciousness into China traditional painting. Despite the constant wars and political chaos in the Five Dynasties, "literati painting" has also been recognized by the upper class and the public, and it is also developing continuously. The expression of "literati" is not limited to painting, but involves various cultural fields, thus providing a good soil for flower-and-bird painting in painting and making the development of "literati flower-and-bird painting" go ahead. Xu Wei is the representative of "literati flower-and-bird painting" since the Five Dynasties. He has this mentality, he is pregnant with peerless wealth, and he has the talent to help the world, but he can't display it. Therefore, in the creation of freehand brushwork flower-and-bird painting, he integrated the advantages of Wu Pai's freehand brushwork flower-and-bird painting and Lin Liang's freehand brushwork flower-and-bird painting, and treated them indifferently. He indulged in brushwork like weeds, splashed ink, and emphasized the charm in the image of flowers and trees between similarity and dissimilarity, which was longer than other literati in painting. Badashanren is another outstanding representative of literati painting after Xu Wei. The completion of flower-and-bird painting in his works is an anthropomorphic expression. He expressed his mentality through painting, criticized the current dynasty and scolded the West to express his dissatisfaction, which made literati painting, especially flower-and-bird painting, reach the height of New literati paintings and had a great influence on later generations and modern times.
The rise of literati painting was closely related to the social development at that time. Painting has always been a doll in the field of literati. In the old days, the style of painting bound many painters, far less than the state of mind of the literati at that time. Therefore, many painters, including court painters, turned their works to literati painting and shifted their painting mentality to literati painting to satisfy the people and literati painting. Since the Five Dynasties, the creation of literati painting style gradually matured at the end of Yuan Dynasty.
Court painters were recognized by the royal family and dominated the society at that time. And folk painters, later "humanistic painters" also played a great role in the history of flower-and-bird painting.
A brief analysis is as follows:
One: Palace flowers and birds
China's flower-and-bird paintings attach importance to sketching and take sketching as the basis of creation. This sketch is not a simple imitation of realistic flowers and birds, but shows the vitality and different characteristics of flowers and birds on the basis of truly depicting objective images. Just like figure painting, it does not aim at external appearance, but pays more attention to vividness. Song Dynasty is the peak of flower-and-bird painting, emphasizing sketching. When Song Huizong and Evonne took control of the Palace Painting Academy, they were more strict and even harsh on the characteristics of animals and plants. Peacocks, for example, usually pay attention to whether to lift their left foot or right foot first.
Specific projects, such as:
"Hua Lantu" Song Song Li
In the delicate and elegant rattan basket, flowers bloom one after another, fresh and colorful. Bright red camellia sits firmly in the middle, gorgeous and fragrant; Elegant green sepals, boudoir-like Daphne, leaning against the body; Narcissus and delicate white lilac are lying on the edge of the basket curiously.
China people love flowers for a long time. In the Song Dynasty, flower viewing and flower arrangement became more enjoyable in life. At that time, in restaurants, inns, teahouses and other places, you can often see seasonal flower arrangement decoration. In spring, people in many metropolises are also scrambling to watch such grand flower shows as "Butterfly Festival" and "Flower Show". This is true for the people and for the courts; This picturesque "flower basket" is an outstanding masterpiece of the popular "flower basket" in Song Dynasty because of its clear distinction between master and slave, bright colors, lush foliage and complete overall appearance.
Two: humanistic flowers and birds
The origin of China's flower-and-bird painting reveals a profound humanistic background. Different from the delicacy and triviality of palace flowers and birds. Humanistic flowers and birds reveal more real and heavy emotional colors.
Mo Zhu Tusong Sushi
The "literati painting" known to later generations originated from the "literati painting" proposed by Su Shi in the Song Dynasty. The literati painters in Song Dynasty were not professional painters, but amateur creations of literati and officialdom. In the middle and late Northern Song Dynasty, literati painting formed a unique system. Their paintings are lyrical and expressive, not completely constrained by formal methods, but freehand brushwork in ink and painting plum and bamboo to show noble character. I love to write Lanju to show my mind, and its perfect taste is different from that of Seiko College and professional painters. It is said that Zhu Mo flourished in the late Tang Dynasty and the Five Dynasties, but it was Wen Tong in the Northern Song Dynasty who made great achievements and had a great influence on later generations. He used to be a doctor in the capital, collecting talents and proofreading, then served as a local official in four kinds of Lingzhou and other places, and then transferred to Huzhou, but he did not take the lead. Su Shi called his poems, books and paintings "four musts". He loves painting ink bamboo and has had in-depth observation and experience of bamboo. He claimed that "painting bamboo must be done in the chest, and he was familiar with it." When he sees what he wants to draw, he starts from it and vibrates straight to catch up with what he sees, such as a rabbit falling and dying if it is not so vertical. " Although popular, it is mature. The "Zhu Mo" painted for him has a true axis shape and a rigorous and free-and-easy style. His ink bamboo created Huzhou Bamboo School. Writer Su Shi is also good at ink bamboo, and is said to have painted bamboo and the like. The legend of Mo Mei began with Huaguang monk in the Northern Song Dynasty, and Yang Bu made the highest achievement. Ou Yangxun, a calligrapher, "paints a plum blossom with strokes". His ink plum is elegant and leisurely, which is quite different from the delicate image created by college paintings.
Mimtu Wang Yuan noodles
The plum blossoms painted by Wang Mian, a famous painter in the Yuan Dynasty, are full of vitality, pro-new and lovely, and have vivid and lyrical characteristics. He mentioned a poem in Mumeitu: At the head of my tree-planting pond, flowers are in full bloom, and the ink marks are pale. Don't praise lewdness, just leave the air full of dried Kun. It shows that in the era of racial discrimination in the Yuan Dynasty, his political attitude and ambition are unwilling to be oppressed by the nation and unwilling to cooperate with the ruling class.