It is necessary to rub out the secret of the so-called Yunfeng stone trace, and the brushwork is vertical and horizontal, and it is natural. Dongpo praised Wu Daoyuan and Wang Wei for painting the wall:' I am also in the dimension. I know what to say. "This passage is also included in the book Moshilong Illustration published during Dong Qichang's lifetime. Therefore, some people think that Dong Qichang's "Theory of Northern and Southern Dynasties" inherited Mo's theory. But it is generally believed that Dong Qichang should be the founder of the North-South school theory. Dong Qichang's theory of "Southern and Northern Schools" should also cover this argument: "Literati painting began in Wang Youcheng, followed by Dong Yuan, monk Ju Ran, Li Cheng and Fan Kuan. Li Longmian, Wang Jinqing, Min Nangong and Tiger are all Dongju people. In the Yuan Dynasty, four masters, Huang Zijiu, Wang Shuming, Ni and Wu, all got down to business. When I was in deep sorrow, I picked up my cloak from a distance. Ruoma, Xia, Liu Songnian were also sent by General Dali, and I am not a Cao Dangxue. "
With the great social influence of Dong Qichang and the coincidence of contemporary Chen Jiru, Zhan Jingfeng, Tang Dynasty, etc., the theory of Southern and Northern Dynasties spread rapidly and gradually became the theoretical standard for evaluating painters. After the theory of "Southern and Northern Schools" became a systematic theory, it was sharply criticized. In fact, various criticisms have been going on for a long time. Mr. Xie thinks that Dong Qichang's "North-South School Theory" is "innovative" and "contradictory": "Because he is well-informed and innovative in ancient paintings, he has created a series of strange theories, and he has moved the sectarian view of Zen to painting, and divided ancient paintings into two systems-'South School' and' North School'. From Tang Wangwei, Zhang Yun, Hao Jing, Guan Tong, Guo Zhongshu, Dong Yuan, Ju Ran, Mi Fei, Mi Youren to Yuan Sijia, it is called' Nanzong'. From Li Sixun and Li Zhaodao in the Tang Dynasty to Zhao Gan, Zhao Boju and Zhao Bosu, and then to Ma Yuan and Xia Gui, it was called "Northern Sect". And he boasted about "Southern Sect", said "Northern Sect" and said "Learning is not my Cao's business". If he only classifies ancient paintings, then, whether he is right or not, it is still a way to sort them out. First, he used Zen allusions to polish his own statement and set this series of writers against each other, as if the river did not interfere with the well water. Neither the evolution of the times nor the development of painting has been taken into account, nor has the personal process and relationship of each writer been ignored. Zhao Mengfu once said that Dong Yuan's green landscape is' Li Sixun' and' painting is in Xuanhe', which is also called Li Sixun of Dong Yuan's colored landscape study, but he arbitrarily insisted that Dong Yuan and Li Sixun, one in the' south' and the other in the' north', were not related. Zhao Gan is a school in the south of the Yangtze River, similar to Dong Yuan, and is listed as' Northern Sect'. And distinguish your own "South" and "North" and determine "South", "High" and "North". However, when his comments were published, it was himself who first refuted this statement. In many of his paintings, he wrote "imitation of Xia Gui pen". It's not the "Northern School" that I should learn, but it seems to be "what I should learn from Cao". Scholars like to dance with words, but only with words. Even he doesn't think he is representing his purpose. However, his argument of overthrowing himself spread and played an important role, which virtually led the so-called orthodox painting school in Qing Dynasty. Up to now, Japan, which loves to study and sort out China's paintings, is still dominated by' Southern Sect' and' Northern Sect'. " (Xie, editor in chief, Shanghai Museum, page 37 1~372, Shanghai People's Publishing House, February 2002) Mr. Wang's On the North-South School of Landscape Painting thinks that Dong Qichang's theory of the North-South School is fallacious, and this case still needs to be criticized again. No matter whether there is such a relationship between their creative ideas, styles, techniques and forms, he insisted that they had their own systems in the South and the North, and that Wang Wei and Li Sixun in the Tang Dynasty were the "ancestors" of these two schools, and finally established the "Southern Sect". Because of his numerous disciples, Dong Qichang's slanderers without scientific basis played a direct role in spreading at that time, and were indirectly influenced by later generations. More than 300 years have passed, and "Southern Sect" and "Northern Sect" have become "catch phrases". Of course, a noun that has become a habit can be used as a symbol to represent a content, but it is not enough or correct to only contain the symbol of the content! In the past thirty years, although some people have put forward textual research to expose its fallacies, it is not as long, as wide and as deep as it was popular at that time. Therefore, we still see or hear it play at least one inappropriate symbolic role in creation and criticism from time to time today, not to mention being blinded by it and believing its content. Therefore, it is necessary to re-criticize this "case". ""To sum up what they said, there are the following points: First, landscape painting, like Zen, was divided into two cases in the Tang Dynasty; Second, the "Southern School" uses the "light and shade" method, headed by Wang Wei, and the "Northern School" uses the coloring method, headed by Li Sixun; Third,' Nanzong' and' Beizong' each have a series of disciples and grandchildren, all of which are passed down in one vein; Fourth,' Nanzong' is a' literati painting', which is good. Dong Qichang thinks that they should learn by themselves, and the "Northern School" is an "expert". This is not good, and they should not learn. According to what they said, we found that every point was contradictory. Especially on the issue of "Sect" or "Sect", we should not use the old method to divide the history of painting today. Even if it is divided, what principle should it be based on? Now, just to expose the absurdity of Dong's theory, even if we make a comparative analysis of the so-called "sects" of the Tang, Song and Yuan dynasties, focusing on mentoring and technique style, Dong Qichang's simple division of "North and South" is no longer valid. As for the further analysis of the style of landscape painting since the Tang and Song Dynasties, it is beyond the scope of this paper. Now let's talk about four contradictions: first, before the end of the Ming Dynasty, we never saw the saying that the landform of the Tang Dynasty was divided into two parts: north and south. In Zhang Tangyan Garden's famous paintings, "Syria teaches North and South times" has nothing to do with the problems in Dong Qichang's landscape painting. I have never seen any trace of the school of painting attached to the Zen family' Nanbeizong'. Second, Wang Wei and Li Sixun suggested that there was never a saying that all factions were founders in historical materials before the late Ming Dynasty. " "Third, the figures listed by Dong Qichang, Chen Jiru and Shen Hao are different from each other. Chen Jiru also put forward the school of" another scholar "to prove that their arguments are not so consistent, but they are consistent on the issue of excluding" Northern Sect ". On the other hand, their "two schools" teaching system is unrealistic. " "Fourth, Dong Qichang once' studied' or hoped to' learn' what he called' Northern Sect'. Not only did he not practice his slogan of' improper learning', but he also repeatedly called on others. " (Qigong Cong Manuscripts (paper volume), the first 167~ 173, Zhonghua Book Company, July edition, 1999) Mr. strongly criticized the theory of "North-South Sect".