The four emperors of the Yuan Dynasty who painted Taoist literati respected Taoism. With the support of the rulers, Taoism flourished and achieved unprecedented development. Taoism inherits nature worship and ancestor worship in ancient China and is a pluralistic religion. Literati painting, as a unique phenomenon in the development of Chinese painting art, is an inevitable product of China's development. Chinese painting has developed to a certain historical period, and its occurrence and development have its own internal factors. Literati painting is a kind of painting with literati's interests and thoughts. Literati painting occupies an important position in the Chinese painting world and is a unique art. When explaining literati paintings, Chen Hengke said that he did not pay attention to the art in the paintings, but he had to see the feelings of many literati outside the paintings. The literati advocated Taoist ideas, pursued purity and inaction, and showed indifference to themselves. Moreover, the literati paintings of the Yuan Dynasty are full of subjective and lyrical intentions. Their concise expression means that the personality is free and natural in nothingness, embodying a peaceful or relaxed aesthetic mentality. It shows that Taoist paintings are simple and tranquil, and the Taoist thoughts of the middle and upper classes are deeply imprinted by Zhao Meng_American families and Taoist aesthetics and tastes. The literati painting of the Yuan Dynasty occupies an important position in Chinese history. It has reached prosperity and perfection in both theory and expression techniques. There were many literati painters influenced by Taoism in the Yuan Dynasty, but the most representative ones were Zhao Mengxu and Ni Zan. Zhao Meng_, who reformed the school's painting style, was named Song Xuedao. His painting and painting theory are not only the embodiment of literati but also the reflection of Tao and nature. In his works, a true Taoist priest, Huang will not only be deeply imprinted with Taoism. Because he is interested in aesthetics. , but the suburbs are different. Literati painting is a complete and true religion, an art that pursues spiritual liberation and individuality. There are many profound arrangements between people, which happen to be the beauty of their inner worlds. In the Ming Dynasty, Dong Qichang, Zhenwu and other literati painted the Tao Te Ching of AD. The Taoist aesthetic thought and Yuan Dynasty were looked down upon by the world, and he himself was ashamed of it. Therefore, during the Shuanghui Pingyuan Tu Year, this was the period when the Yuan people moved from rich academic paintings to simplicity. Xu said: To be honest, if the root is metaphysics, then Zhao is the return of Taoism to the spirit of Lao and Zhuang. Compared with Qi, it can almost be said that they do not have the style of the four great families in the late Yuan Dynasty. Jane, empty world. The achievement of lying on Huanghe Mountain. Zhao's roots are in metaphysics, but Zhao is the spirit of Taoism's return to Lao and Zhuang. The reason why he has such high achievements is because of his calm mind. His name is Xiangguang Jushi, and his name is Huang Shang. This is due to the influence of Taoist thought on him. He combines the theory of form, energy and spirit conveyed by Taoist thought with painting, which is reflected in the brushwork and spiritual realm of painting. It advocates restoration, returning to the traditions of the Tang and Northern Song Dynasties, advocating the use of calligraphy in painting, and proposing a Yuan painting style that emphasizes verve, light rhythm, and focuses on subjective lyricism. The secluded landscape reflects the negative thoughts of escaping from the world. As for the theme, choose plum, orchid, bamboo, chrysanthemum, stone, etc. to symbolize noble and loyal personality. His painting style and theoretical achievements were highly praised by the world. He became popular among literati painters at that time and later, and a model style of literati landscape painting gradually formed. As a master of painting in the Yuan Dynasty, Zhao Meng's artistic thoughts and painting concepts influenced many painters around him and later. Among them, Huang and Wang Meng were his disciples, and were directly inspired and influenced by his aesthetic thoughts and painting concepts. Huang, Wu Zhen, Ni Zan and Wang Meng were famous literati painters in the late Yuan Dynasty and were famous. The thoughts of the four Yuan schools were deeply influenced by Taoism, and some were direct Taoist leaders, such as Huang and Zhenwu. Huang is a learned and talented Taoist priest. When he was frustrated in officialdom, he believed in Bohua and Taoism. He is not only obsessed with art, but also committed to Taoism and opposes the evil aesthetic life
Ni Zan's character town, named Yunlin, learned the noble feelings of Zen for the first time. As expected, Zhao Meng - Wu Bo's Zhao Meng - had an empty life and later joined the Quanzhen Sect. He is one of the representative figures of literati painters in the Yuan Dynasty. His art is deeply influenced by Taoist theory of form and spirit. He said: A servant's so-called painter is nothing more than a sloppy brushwork who does not seek similarity and only entertains himself. It directly embodies the theory of form, spirit and charm of literati paintings, and is a study and teaching for future generations. It means that painting does not seek the shape of a painting, but uses the pen to escape the anger in the chest and amuse oneself. Living in a war-torn environment, he wanted to escape reality, give up his pastoral industry, and live a wandering life. Therefore, his paintings advocate expressing inner feelings and elevating painting to a spiritual level. He doesn't need the public's approval, but only his own.
Many theorists believe that Nizam's careless brushwork, which does not pursue form, is a kind of expressive forgetfulness. It ignores the grasp of form in painting and uses expressive writing to oppose it, which is inconsistent with the facts. Looking at Ni Zan's paintings, although the expression techniques are bold, it does not affect our recognition of what he painted. On the contrary, it makes us feel that the things he painted, even if they are just plants and trees, have a unique flavor. This shows that Ni Zan's paintings are not without similarities, nor do his paintings break away from similarities and pursue ease of writing. It is just the shape of the pen, but more emphasis is placed on the pen. Due to the particularity of the Yuan Dynasty, a large number of literati lost their jobs in the mountains, and subsequently a large number of literati became the main force in painting creation in the Yuan Dynasty. Ni Zan's painting aesthetics pushed this lyrical and freehand painting concept to the extreme. The pen and ink gradually get rid of practical value and tend towards independent aesthetics. It also defines the form of freehand painting between similarity and dissimilarity. Ni Zan's paintings advocate the idea of ??self-entertainment, which has positive significance in breaking through the constraints of moral education on painting, giving full play to the aesthetic function of painting, and linking it with the free expression of individual emotions. He cares about the secular world, but he can't change it, so he has to adopt an independent attitude and escape from nature. Painting is the material means he uses to dilute his pain. Therefore, the artistic conception of his paintings has a strong open-minded, simple and indifferent beauty, which is also a projection of his lonely mood. Ni Zan perfectly combined personal cultivation, reclusive feelings and the meaning of pen and ink, allowing him to entertain himself and form his own painting beauty. He also used simple pen and ink to create the program of literati painting, thus laying the foundation for the development of China. What will happen to American painting over the next few hundred years? His painting practice and theory had a great influence on literati painters of the Ming and Qing Dynasties. Reference: Cheng Mingzhen. Wenxinhousu. Nanjing: Southeast University Press, 2007, P82. Ruan Pu. Debate on the history of Chinese painting. Xi'an: Shaanxi Art Publishing House, 1993, P159.