Question 2: Su Shi said in "Two Paintings of Mountains in Han Jie": "Viewing literati paintings is like reading horses in the world and taking their feelings; However, if a painter is a painter, he often only takes the test question "D" as an analysis: "Viewing a scholar's painting is like reading a horse in the world and taking its spirit. "It can be seen that literati painting (that is, literati painting) emphasizes artistic conception and focuses on expressing the painter's thoughts and feelings, and does not pay much attention to the shape of objects in creation. The key is to draw the charm of the object; " If a painter is a painter, he often just spurs him with hair grooves, but he is not handsome at all. After seeing a few feet, he was tired ... "It means that the craftsman only draws the hair groove of the painted object to express the shape and image of the object; This is obviously that the works of literati are much higher than those of ordinary painters when they are conceived, so D is right.
Question 3: Briefly describe the basic characteristics of people. Literati painting, which westerners call literati painting, is a unique style system in China's painting. From the semantic point of view, most of its authors are literati with comprehensive and profound cultural literacy. In creation, it emphasizes the combination of individual expression with poetry, calligraphy, painting and other artistic forms. In the Northern Song Dynasty, Su Shi clearly put forward the concept of "literati painting". In the early Yuan Dynasty, Zhao Meng and others used the concept of "literati painting", and in the late Ming Dynasty, Dong Qichang further put forward the concept of "literati painting". Chen Shiceng, a modern painter and theorist, pointed out: "What is literati painting? In other words, painting has the nature of literati, including literati's interest, and painting does not pay attention to artistic kung fu. It is necessary to see the feelings of many literati outside the painting, followed by the so-called literati painting. " "The elements of literati painting, the first character, the second knowledge, the third talent and the fourth thought can all be perfected."
The formation and development of literati painting is a cultural phenomenon caused by various factors in China feudal society, which has a long evolution process. As early as the Jin Dynasty, literati showed the creative attitude of "learning instead of being human and entertaining themselves". The Tang Dynasty made a lot of preparations for the emergence of literati painting in theory and technology. Zhang Yanyuan put forward that "the intention is to save a pen before painting", and Wang Wei's paintings reflect the aesthetic taste of poets and painters. The ink-breaking landscape painting method in the middle and late Tang Dynasty provided the possibility of form for literati painting; Dong Yuan and Ju Ran in the Five Dynasties pursued plain brushwork in landscape painting, which provided direct artistic norms for the development of literati painting. Literati painting was formally produced in the Northern Song Dynasty, matured in the Yuan Dynasty and flourished in the Ming and Qing Dynasties.
With the development of literati painting, its characteristics are constantly developing and improving.
The literati painting in Song Dynasty (960- 1279) appeared in Northern Song Dynasty, which not only has the inherent law of painting style development, but also has its profound social and historical background. In the Tang Dynasty, a literati class marked by personal cultural accomplishment was formed. During the Northern Song Dynasty, the complete education system and the most relaxed and reasonable imperial examination system gradually increased the number of officials who entered the upper class through education, and their status and influence gradually improved, so they found that painting was a literary form that reflected their interests and could express their voices.
In the early Song Dynasty, Huang Xiufu put "one grid" at the top of the previous "four grids" when judging the painting grade, and explained "one grid": "One grid of painting" is the most difficult. I am poor at rules and regulations, but I am diligent in painting. The shape of the pen is simple and natural, which is a model. It is out of intention, so it is easy. " This explanation summarizes the characteristics of literati painting, especially literati painting with freehand brushwork.
In the mid-Northern Song Dynasty, a group of doctors began to treat behavior and spirit, behavior and meaning respectively. For example, Ouyang Xiu said, "Very few people get carried away." Shen Kuo said: "The beauty of calligraphy and painting should be based on God, and it is difficult to ask for it." Su Shi, who has the greatest influence in this respect, said: "On the similarity of paintings, it can be seen that they are adjacent to children. Poetry must be this poem, it must be a poet. " He first put forward the concept of "literati painting" and described it in detail. "Painting is like a horse in the world, taking its heart. If you paint, you often only take its hair, which is not handsome at all. When he looks at a few feet, he is tired. " He also advocated "the unity of poetry and painting" and vigorously advocated the combination of poetry and painting, making it one of the basic characteristics of literati painting. He comprehensively expounded the theory of literati painting, which played a decisive role in the formation of literati painting system.
Mi Fei, a contemporary of Su Shi, and his son Mi Youren carried out the bold practice of literati painting in landscape painting. Their landscape painting method "Mi's Yunshan" marked the change of literati painting "replacing simplicity with density", which was inherited and developed by painter Gao in the early Yuan Dynasty and had a great influence on literati painting in Yuan, Ming and Qing Dynasties.
Influenced by Zen in the Song Dynasty, a number of Zen monk painters who were painted by literati at that time appeared, such as the meeting in the late Southern Song Dynasty and the view of warming the sun at the end of the Song Dynasty and the beginning of the Yuan Dynasty, all of which had a certain influence on later literati paintings.
Jin (about1115-1234) was influenced by northern literati. Literati painting is the most distinctive part of Jin Dynasty painting, which played an important role as a bridge between the Northern Song Dynasty and the early Yuan Dynasty. Representative figures are Cai Songnian, Cai's father and son, Shan Li and imperial clan painters. But most of the literati paintings here imitate predecessors and have no innovation.
After the Mongolian aristocrats unified political power in Yuan Dynasty (1279- 1368), the imperial examination system was abolished, which led to the disillusionment of literati's dream of "learning to be an official", and literati pinned their minds on painting and expressed their grievances. Literati painting tends to be mature in the Yuan Dynasty, and it has also become the main achievement of painting in the Yuan Dynasty.
The Formation of Literati Painting in Yuan Dynasty 3...> & gt
Question 4: What does Chinese painting mainly draw from Confucianism? Neo-Confucianism and the way of Chinese painting.
20 10-05-28 | Dan Xia Qing | Transfer to Tibet (2 1)
Date: August 5, 2009 13: 59: 38 Author: Zhang Zhiwei Source: China National Painting Academy.
People who study aesthetics often wander between the lines of "beauty" in ancient times, while their research on painting theory and Taoism is just scratching their heads, which is difficult for painters to use. In fact, the "beauty" involved in the theory of Chinese painting is closely related to China's ancient cultural thought in essence. Because painting is an image. Forget the image when you are proud, and forget the words when you like it. In terms of meaning, there is another layer between words and images. Therefore, painters in ancient and modern times often do not follow the words of saints, but directly take the meaning of saints and paint according to the meaning of saints. This is called painting theory, which is true in ancient and modern times.
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Looking at the formation and development of Chinese painting theory, Confucianism should take the lead, and Taoist Zen should come from behind. However, although Taoist Zen came from behind, without Confucianism, painting will eventually enter the wild fox Zen.
Since landscape painting became an independent painting, Taoist thought has occupied a dominant position. Due to the rise of literati painting in the Song Dynasty and the split between the north and the south in Dong Qichang in the Ming Dynasty, scholars' comments on the theory of Chinese painting fell to the Zen school, and few first-class national artists in the Qing Dynasty did not talk about Zen. In fact, the painting theory of Zen began after the Song Dynasty and reached its peak in Ni Yunlin's landscape painting. Because Ni Yunlin has the language of "escape from the chest", later generations call his works the representative of Yipin. Neo-Confucianist Xu called it "Qingyi" and regarded Qingyi as the highest model of yi pin.
In fact, the painting theory of the word "Yi" began as early as the Wei, Jin, Southern and Northern Dynasties, but it had nothing to do with Zen. Sheikh used the word "Yi" repeatedly in his Catalogue of Ancient Paintings, including the words "Gao Yi", "Heng Yi", "Cai Yi" and "Yi Bi", but these words all appeared in the second and third products, but not in the first product. In the Tang Dynasty, Li Simiao put forward the concept of "one product" when commenting on calligraphy, and Zhu added a product to "Three Treatises on Calligraphy and Painting", saying only that it was "unconventional". It can be seen that the "one product" in the Tang Dynasty is not a Zen realm. In the Northern Song Dynasty, Huang Xiufu put "one style" at the top of the four styles, Su Shi distinguished literati painting from painter painting, Mi Fei discussed the vulgarity and vulgarity of painting, and Zen painters only discussed painting.
Su Shi said in "Postscript Song Han Jie Painting Mountains": "Viewing literati painting is like reading the horses in the world, and taking what they want. However, if you are a painter, you will only whip the grass with a hair trough. If there is no handsome hair, you will be tired if you look at a few feet. " In fact, literati painting and painter painting have long been different. As Xu saw, from the Eastern Han Dynasty to the Wei and Jin Dynasties, painting, calligraphy and etiquette were the standards for the imperial court to test the virtue of literati. Su Shi pointed this out and made clear the difference between elite art and popular art from the perspective of painting theory and painting method. However, in the Wei and Jin Dynasties, the theory of calligraphy and painting and the theory of metaphysics were all based on Laozi and Zhuangzi, but in Su Shi, it was changed to Buddhism. In his comments on paintings, Su Shi emphasized the word "Qing" and often said such words as "Qing Li", "Qing Xiong", "Jing Qing", "poor" and "fresh", as well as "indifferent", "plain" and "empty" (see Pan, editor-in-chief of Paintings by Song People)
Miffy's comments often use words such as comely, beautiful, bright, clean, bright, comely and comely. Compared with Su Shi, Mi Fei will use secular, vulgar and vulgar paintings, vulgar, vulgar and vulgar.
For example, Dong Qichang said, "It is the way to be sweet and vulgar for morale", which clearly shows the influence of Su Shi and Mi Fei. Dong Qichang's respect for Dong Yuan also comes from Mi Fei. In the history of painting, Mi Fei praised Dong Yuan's paintings for being "more sincere", "sincere and lovely" and "elegant in taste" many times, but he criticized other modern painters more. For example, he said: "Fan Kuan's mountains and rivers, ... used too much ink in his later years, and did not distinguish between earth and stone." He added: "Xu Daoning is not available, and the model painting is too tacky." He also said that his paintings were "not tacky". Su Shi also commented that Fan Kuan was "slightly tacky". In fact, the paintings of Guan Tong, Fan Kuan, Li Cheng and Xu Daoning are all magnificent works with Confucian flavor. Sue and Amy will naturally belittle the Zen family because of their partiality.
Question 5: What is literati painting?
Also known as "literati painting", a kind of Chinese painting. Generally refers to the paintings made by literati in China feudal society.
See baike.baidu/view/6970? for details. . fr=ala0_ 1_ 1
I hope you are satisfied!
Question 6: How to get out of the predicament of contemporary literati painting?
Art history is used to dividing China ancient paintings into academy paintings, literati paintings and craftsman paintings. However, if we want to seriously investigate, most of the literati paintings are fake "literati paintings", and the essence is "painter's paintings"-the works of professional painters. Pseudo "literati painting" is like bamboo shoots in the mountains, covered with thick artistic cocoons. Peeling off layer by layer, we can see that the beating heart is a market heart and a utilitarian heart.
The real literati painting excludes the market, because it is subject and self, not object and otherness. Literati painting is a kind of "wandering in art" under the dual prosperity of spirit and material, not for survival. Literati painting is a non-utilitarian pastime and game, and painter painting is a profitable labor.
Literati painting is out of reach.
Literati painting is actually literati painting. Su Shi said: "Looking at literati paintings is like reading the horses in the world and taking their feelings. However, if you are a painter, you often only take the hairy whip grass without any handsome hair, and you will be tired after seeing a few feet. Han Jie really painted it. "
Painting is the reflection of people's overall mental outlook on the screen. There is a poetic spirit in his belly, which is not only reflected in his bearing and demeanor, but also in his works and articles. The so-called writing is like a person, and words are like a person, which is also called it.
Literati painting is a stroke by stroke, and it is intelligent, not the ingenuity of "finding chapters and sentences". For example, Huang Tingjian said in the postscript of Su Shi's Cold Food Post: "Trying to restore Dongpo is not necessarily the case." This is the realm of literati painting. Literati painting is skillful, and its highest realm is "playing". Playing is casual and indispensable, as long as you are happy. It is afternoon tea for rich children, not porridge that ordinary people can see.
Judging from the history of China, a real literati painting should include several conditions.
One is birth, whether he is a scholar or not, whether he is a "scholar". He must be a scholar or a Confucian scholar. He should have the Zen taste of the world and the necessary pen and ink skills, not the calligraphy skills. Practice makes perfect, not cleverness and skill. Dong Qichang said: "Charm can't be learned, it's innate knowledge and natural talent. However, there are also places where I can learn. Read thousands of books and take Wan Li Road. I got rid of the dust in my chest and set up camp in the ravine naturally. I set up a pen and wrote casually. They are all vivid scenery. " Contemporary art historians often understand "reading thousands of books" as learning the techniques of predecessors, which is obviously far-fetched. Without understanding thousands of books's efforts, genius mind, experience in understanding life, and wit in words, it is difficult to become a scholar. These elements cannot be imitated by painters who specialize in painting.
The second is experience, whether you have experienced the officialdom or the ruling class and gained spiritual and material freedom from top to bottom. In ancient China, reading was the ultimate shortcut to life, and it also provided a solution to all life problems. The so-called "book has its own Yan Ruyu, the book has its own golden house". Also, because of reading, you can achieve the phoenix nirvana of "making a fortune for the sky, making a fortune for the sky". "Learning to be excellent is to be an official". If you have fame, you will have wealth, and you will be able to command yourself spiritually and enjoy luxury. Only in this way can we have spare money, leisure time to play with pen and ink, and real literati painting.
The third is motivation, whether painting is for recreation or for sale. Real literati paintings and calligraphy rarely flow into the market because of their low output. "Lu Zhi plays Dongpo and says,' Yesterday, the word for the goose is changed, and Han Zongru is gluttonous. Every time I get a post, Lin Yao, the head coach of the temple, promises to change more than ten kilograms of mutton, which can be called a book for changing sheep. Poe smiled. One day, when Gong was in Hanyuan, he wrote a lot of books on sacred restraint. In order to report the books, Zongru wrote several bamboo slips that day, which made people anxious to set up a court to supervise. The crowd laughed and said,' The telegraph officer broke the slaughter today!' "Eating Han Zongru took Su Dongpo's note for mutton. After being known by Su Gong, he deliberately teased him and refused to reply to his boring note, telling him not to kill sheep today! This anecdote of Dongpo actually reflects that the real literati painting and calligraphy is casual and can't be met. Once there is real market demand, it is really useless. After all, these literati are not book assistants or painters.
The fourth is skill, amateur or professional. Qian Xuan and Zhao Meng once discussed the issues of "expert painting" and "violent family painting". Zhang Zeng, a Song Dynasty man, once said, "Scholars have nothing to see, but ignorant people have something to do with it. In the past 30 years, the ci department has stopped, and both systems have failed. The Beijing proverb says that' domestic violence' is also true. " Zhan Jingfeng, an Amin, also wrote in the postscript of 1594: "There are two schools of landscape, one is Yi Jia, and the other is a writer, also known as an expert and Lee." According to Qi Gong's textual research, "Today's people are called" experts "or" experts ".They learn from teachers, specialize in their majors and are familiar with their skills" ...>& gt
Question 7: What is the difference between garden flowers and humanistic paintings in Song Dynasty? Literati painting, also known as "Literati Painting", is a kind of Chinese painting. Generally refers to the paintings made by literati in China feudal society. Different from the paintings of folk painters and professional painters in the Palace Painting Academy, Su Shi put forward "literati painting" in the Northern Song Dynasty, and Dong Qichang advocated "literati painting" in the Ming Dynasty, with Wang Wei as the founder and the ancestor of Nanzong ("Southern and Northern Sect"). But in the old days, it was often used to raise the painting art of the literati class and despise folk painters and institutional painters. Usually, "literati painting" takes landscapes, flowers and birds, plum blossoms, bamboo, chrysanthemums, wood and stones as the themes. In order to express "soul" or personal ambition, sometimes it also contains feelings of national oppression or resentment against decadent politics. They admire "morale" and "one product", advocate algae interest, stress pen and ink interest, get rid of similarities, emphasize verve, and attach great importance to the cultivation of literature and calligraphy and the creation of artistic conception of painting. Literati paintings in past dynasties have a great influence on the aesthetic thought of Chinese painting and the development of ink painting, freehand brushwork and other techniques.
Literati painting is a painting with literati interest and thoughts. It is not juxtaposed with the landscape, flowers and birds and figures in Chinese painting, and it is no different from painting and writing in terms of techniques. He is the intersection of landscapes, flowers and birds and figures in China's paintings. Chen Hengke said when explaining literati painting, "Don't pay attention to art in painting, but see the feelings of many literati outside painting". It shows that literati painting is literary, philosophical and lyrical. In traditional painting, its unique "elegance" is unique, which is different from craftsman painting and courtyard painting.
Ethnicity
The origin of literati painting before the Song Dynasty can be traced back to the Han Dynasty, and both Zhang Heng and Cai Yong had painting names. During the Wei, Jin, Southern and Northern Dynasties, Yao Zui's "don't learn to be a man, entertain yourself" became the central argument of literati painting. Scholars of all ages respected it as a painting purpose. Zong Bing's ambition is to "have a clear mind and view the Tao, and lie down and swim". It fully embodies the mentality of the literati to entertain themselves. Poetry prevailed in the Tang Dynasty, and the great poet Wang Wei painted with poetry. Make later generations regard him as the originator of literati painting. His paintings became a model for later literati painters. There are pictures in poems, and there are poems in paintings. It has become a practice and passed down from generation to generation. Before the Song Dynasty, China's painting had made remarkable progress, and there were "three landscapes" and "Xu Lvti different" flower-and-bird paintings.
The Royal Academy of Painting in Song Dynasty was established in Song Dynasty. According to Deng Chun, the author of Painting Sui, Song Huizong personally presided over the Painting Academy, emphasizing "likeness" and "testimonies". Statutes are learning from tradition, which seems to reproduce objective things in a true and meticulous way. Song Huizong took realism and freehand brushwork as the leading thoughts, and developed a finely carved style. The above painting style of Xuanhe Painting Academy continued to develop in Shaoxing Painting Academy in the Southern Song Dynasty, and painters pursued vivid images and refined compositions. Generally speaking, the court painting in Song Dynasty pursues a high degree of realism, and some art historians call it "the peak of oriental realism". Realistic art tends to go to the opposite side when it develops to the extreme. In Song Dynasty, some painters with extensive cultural accomplishment found this shortcoming, and found a new way out in theory and practice, and put forward the theory of literati painting for the first time.
Su Shi was the first to comprehensively expound the theory of literati painting, which played a decisive role in the formation of literati painting system. First of all, he put forward the concept of "literati painting". "Looking at literati paintings is like reading the horses of the world and taking what they feel. But if you are a painter, you often just take a nap in the fur trough and look at your feet and get tired. Han Jie really painted. " Secondly, he improved the historical position of the painter Wang Wei, and showed his desire to separate the literati painter from the professional painter (painter): "Although Wu Sheng is wonderful, he still regards painting as a painter. Thank Long Fan like a fairy. "(Fengxiang Eight Views on Wang Wei's Wu Daozi Paintings) Third, we advocate the poetic and picturesque literati painting style and oppose the painter's complete pursuit of the similar painting style." There are pictures in fascinating poems. Look at the picture. There are poems in it.
From the perspective of painting practice, Su Shi's Dead Wood and Strange Stone can better show his aesthetic practice. In addition, Wen Tong's ink painting and Su Shi's * * * created the theme of "dead wood and bamboo stone" for literati painting. In figure painting, Li has high attainments in appreciation, calligraphy and antiquities, and creatively developed the "line drawing" in the Tang Dynasty into a simple drawing. This colorful line emphasizes calligraphy skills and abstract aesthetic taste, which is more in line with the aesthetic standards of literati. Yun Shan Mo and Mi Dian Tuan, created by Mi Fei and Mi Youren in the Southern Song Dynasty, marked the change of landscape painting from simple to dense, and were inherited and developed by Gao in the early Yuan Dynasty, which had a great influence on literati painting in Yuan, Ming and Qing Dynasties.
The situation of the literati in the Yuan Dynasty was quite humble. The literati gave up their official career and neglected the people ... >>
Question 8: What happened to Sina? Do you think Taiwan Province Province is a country? Come in and have a look. It's great. . . I guess it was reposted on the website of Taiwan Province Province, and I didn't go to inspect it.
Really should be criticized!