Three major systems in the peak period of classical landscape painting/s/blog_48471aab01000cwa.html Landscape paintings in the Song Dynasty mostly used silk, with fine outlines, rigorous depictions, and ink to render layer by layer, dignified and tranquil; landscape paintings in the Yuan Dynasty mostly used paper , conducive to dry brush rubbing, "not bound by the law, the meaning is beyond the imagination", the ink method is used both dry and wet, the changes are unpredictable, and the vastness is vast. It can be said that the techniques of Chinese landscape painting have been harmonized with those of the Song and Yuan Dynasties. After the Yuan Dynasty, during the Ming and Qing dynasties, landscape painting was obviously inferior to that of the Song and Yuan Dynasties, and there was no sense of historical and cultural significance in the landscape paintings of the Song and Yuan Dynasties. The paintings of the Song Dynasty reflected unprecedented richness, refinement, and realism. The paintings of this period were further divided into landscapes, flowers and birds, figures, religious paintings, and miscellaneous paintings. Due to the diverse painting styles and numerous themes, the techniques and theories of ink painting quickly reached a peak with the development of landscape painting and flower-and-bird painting in the Five Dynasties and Song Dynasty. During this period, famous painters emerged in large numbers: in terms of landscape painting, the works of famous landscape painters such as Jing Hao, Guan Tong, Dong Yuan, Ju Ran, Li Cheng, Fan Kuan, Ma Yuan, and Xia Gui had a profound impact on later generations. In terms of flower-and-bird painting, as literary works Scholars such as Tong Tong, Su Shi, and Mi Fu used the spread of specialized paintings such as ink bamboo and ink plum (together with orchid in the late Southern Song Dynasty and chrysanthemum in the later Ming Dynasty) to create the "Four Gentlemen" who advocated subjective interest and the formal interest of pen and ink. "Human Painting" began to rise, such as Fachang's ink flower-and-bird painting "Old Pine Myna Picture", which opened a new way for the development of ink painting in later generations. Xu Xi created the "wild and leisure" style of ink painting and his grandson Xu Zongsi continued his ancestral business. The "boneless method" of ink painting of flowers and birds was developed among the people. Of course, ink painting also had new developments in figure painting in the Song Dynasty. For example, Liang Kai's "splash-ink painting of immortals" and "Li Bai's chanting painting" used extremely simple geometric patterns. The pen outlines the character of the poet Li Bai and becomes one of the most successful figure paintings in the history of painting. The changes in aesthetic consciousness brought about by the Yuan Dynasty inevitably had a profound impact on the development of Chinese painting. In the painting theory and creative practice of literati painting represented by Zhao Xuesong, Zhao Xuesong advocates the realism of painting and emphasizes the consistency of painting brushwork and calligraphy. As the leader of the Four Yuan Masters (Zhao Xuesong, Huang Gongwang, Wang Meng, Wu Zhen, and later Dong Qichang also replaced him with Ni Kun), he promoted a new era of calligraphy and ink painting, and led a new round of important changes in ink painting in the Yuan Dynasty. They got rid of the style of the Song Dynasty's courtyard painting, focused on subjective expression, and pursued a simple, elegant, vast and elegant artistic taste. They used dry brush rubbing instead of wet brush blending, and gradually used paper instead of silk to express their artistic achievements. It was a creative development of Chinese painting and played a decisive role in the painting theory and creation of the Ming and Qing Dynasties. The general development trend of the ink painting style in the Yuan Dynasty was to attach importance to the inheritance of ancient traditions, and the outstanding expression was that literati painting began to occupy the painting world. Therefore, landscape paintings of dead trees, bamboos, rocks, plums, orchids, and ink paintings of flowers and birds that are suitable for expressing the consciousness of literati painters emerged in large numbers. With the prosperity of literati paintings, poetry, calligraphy, and paintings were further developed. Closely combined and become a common trend. This strengthens the literary interest of Chinese painting and better reflects the national characteristics of Chinese painting. /blog/static/253191132007622101946353/ Landscape painting was the highest state of painting in Song and Yuan Dynasties. In the history of painting, although landscape painting is a relatively recent painting discipline, it is more than a thousand years earlier than European landscape painting. In the Han Dynasty, landscape painting only appeared as a background for figures. In the Wei, Jin, Southern and Northern Dynasties, people admired Lao Zhuang and talked about xuanxuan. , fell in love with landscapes and lived in a cottage. Therefore, in the independent landscape painting practice of Dai Kui, Gu Kaizhi, Zhang Sengyao, Zong Bing, etc., the function of landscape painting to charm Taoism was further understood. However, the landscape painting techniques of the Six Dynasties were further understood. He is still immature, "When he paints landscapes, the momentum of the front peak is like a rhinoceros comb decorated with diamonds; maybe the water cannot be flooded, or the people are larger than the mountains" (Zhang Yanyuan's "Records of Famous Paintings of the Past Dynasties"). The landscape painting techniques of the Sui Dynasty, represented by "Spring Outing" by Zhan Ziqian of the Sui Dynasty, have become mature in terms of brushwork, rock shapes, and water texture.
Landscape painting in the Tang Dynasty entered a mature stage. The so-called painting of the Yangtze River "takes Li Sixun several months and Wu Daozi takes one day" shows that there are important innovations in landscape painting, which is the creation of two major schools. One is the "painting of the Yangtze River" represented by Li Sixun and his son. The first is the "green landscape" school, which was founded by Wu Daozi's "reform" and promoted by Wang Wei, Zhang Hong and others. As a result, landscape paintings that valued lines and ink began to compete with green landscape paintings that valued color. The heyday of landscape painting was the Song and Yuan Dynasties. The landscape painters Jing Hao, Guan Tong, Dong Yuan and Ju Ran of the Five Dynasties and early Song Dynasty provided theoretical and practical preparations for the landscape paintings of the Song Dynasty. The landscapes of the Song and Yuan Dynasties can be roughly divided into three periods, namely, the landscapes of the Northern Song Dynasty (represented by Li Cheng, Fan Kuan, and Guo Xi), the landscapes of the Southern Song Dynasty (represented by Liu Songnian, Li Tang, Ma Yuan, and Xia Gui) and the Yuan Dynasty Landscape (represented by the "Four Yuan Masters", namely Huang Gongwang, Wang Meng, Ni Yunlin and Wu Zhen). Generally speaking, the capital of the Northern Song Dynasty was Bianjing, so the landscape paintings of the Northern Song Dynasty focused on shaping the landscape images of the Guanluo area on both sides of the Yellow River. They were majestic and straight, capturing the essence of the Qinlong landscape. There are also works by Mi Fu and his son that depict the misty and misty Mi Dian landscapes in the south of the Yangtze River ("Spring Mountains with Ruins of Pines", "Xiaoxiang Wonders"), and Wang Ximeng's majestic green landscape paintings ("A Thousand Miles of Rivers and Mountains"), which are unparalleled in their generation. During the Jingkang Incident, the Song Dynasty moved southward, and the center of painting moved southward. The painters of the Southern Song Dynasty were impressed by the beautiful images of the mountains and rivers in the south of the Yangtze River. They could swim and lie down and imitate them with their hearts and hands. Therefore, the painting style of the Northern Song Dynasty changed from the majestic, steep, powerful and heavy (Fan Kuan and Guo Xi) of the Northern Song Dynasty to the ethereal and handsome, sparse forest and evening photos. (Ma Yuan and Xia Gui are representatives). The landscapes of the Yuan Dynasty (Four Schools of the Yuan Dynasty) are a portrayal of the frustration and pain from the mentality of scholar-bureaucrats to the mentality of literati. As a result, more emphasis is placed on subjective interest and ink style, which may be vast and rich, or radiant with ink, or sparse and concise, or timeless. Pushing the beauty of pen and ink lines to the extreme, emphasizing that painting pen and ink can have a relatively independent beauty that does not depend on the scenery. Therefore, the combination of calligraphy and painting, emphasizing the taste of calligraphy and the unique artistic conception conveyed by the mood, spatial tension, time composition, etc., became the fundamental feature of the Yuan Dynasty landscape (also known as "study landscape"), and influenced the Ming and Qing Dynasties. , modern ink landscape painting has a profound influence.