Chapter 1 Primitive Art
(1) Primitive Pottery Art
1. Pottery and pottery decoration methods
Early: For practical purposes, it is simple and crude, with few types.
The second period: it has both practical value and value as a work of art, and uses decorative methods such as painting and ornamentation
The third period: a wide variety of styles, rich shapes, and the application of perforation, printing and other techniques.
2. Famous cultural sites of pottery unearthed from the Neolithic Age in my country
Yangshao Culture (representative of painted pottery, around 4100 BC - 2500 BC),
Majia Culture Kiln (3300 BC - 1800 BC, divided into four types: Shilingxia, Majiayao, Banshan and Machang) and Banshan type pottery represent the highest level of Neolithic painted pottery art
Dawenkou, Longshan ( The outstanding representative of plain pottery), Dawenkou has three significant characteristics: 1. Diversified colors, 2. Mature production of black pottery, 3. Advanced carving technology, followed by the development of holes and diverse patterns. The Longshan Culture used the quick-wheel pottery technique.
Hemudu Culture, etc.
3. The main types and style characteristics of Neolithic pottery
(Style is divided into painted pottery in the upper reaches of the Yellow River [Yangshao, Majiayao], plain pottery in the lower reaches [Dawenkou, Longshan] ])
Yangshao pottery: It expresses the awareness and desire of beauty in the painting, but due to the constraints of practicality, the shape does not change much.
Longshan Culture: The surface decoration is relatively simple, but the shapes are rich in changes. Many vessels have lost their practical purpose.
(2) Primitive Painting
1. Primitive pottery painting art
It is divided into two categories: patterns and pictures, with mostly patterns.
2. Early geoglyphs, murals, and rock paintings
In 1982, geoglyphs were discovered at the late Yangshao site in Dadiwan, Qin'an.
Rock paintings: Inner Mongolia Yinshan rock paintings, Guangxi Huashan rock paintings, Lianyungang Jiangjun Cliff, etc.
(3) Original sculptures
1. Types of prehistoric ceramic sculptures< /p>
Neolithic sculptures have two major characteristics: practicality and symbolism. The most representative sculptures are jade and pottery sculptures. There are two types of pottery sculptures: animals and figures.
2. Two centers and main styles of Neolithic stone carvings
Two centers in the north and south, the Liangzhu culture in the south and the Hongshan culture in the north.
Southern Liangzhu: Using the technique of combining plane bas-relief and line carving, the main objects depicted are the statues of gods and figures on religious ritual vessels. The shapes are solemn and sacred, with strong religious connotations.
Northern Hongshan: The technique of round carving is used to depict animals in life or in deification. The shapes are lively and highly decorative.
Chapter 2 Pre-Qin Art
(1) Pre-Qin Bronze Art
1. The development process of bronzes in Xia, Shang and Zhou Dynasties and the style characteristics of each stage
p>
*****
2. Classification of bronze wares: According to their uses: food vessels, wine vessels, water vessels, musical instruments, weapons, etc.
3. The main classification and characteristics of bronze ware decoration:
Animal (shape and main decoration) and geometric patterns (shading or details),
< p>Characteristics of shape decoration: a. Modeling based on animal forms, called "Zun"; b. Integrating human or animal images with the shape of bronze ware; c. Using the main animal image as an accessory to the bronze ware< p>(2) Pre-Qin Sculpture Art1. Two types of bronze sculptures
a. Modeling with animal images, most of which express respect for the emperor, and the utensils are mostly dignified and broad. .
b. Three-dimensional sculptures expressed on the ears, lids, buttons, mouths and other accessories of the utensils.
2. Briefly describe the sculpture art in the Pre-Qin period
In terms of production materials, it can be roughly divided into three categories: bronze sculpture, jade sculpture, and pottery sculpture.
Bronze sculpture mainly refers to the three-dimensional sculpture accessories on bronze vessels, which can be divided into animal image shapes and three-dimensional sculptures of vessel accessories.
Jade sculpture has a long history, with the Shang Dynasty having the most significant achievements. There are large marble standing sculptures and small sculptures showing animals
Compared with bronze and jade, the number of ceramic sculptures is smaller. In the middle of the Shang Dynasty, The content gradually increased. After the late Shang Dynasty, due to the significant increase in jade sculptures, the ceramic sculptures decreased greatly.
(3) Pre-Qin paintings
1. The name, content and nature of the three pre-Qin silk paintings
"Dragon and Phoenix Figures" A woman with a long skirt and a slim waist, hands Put your palms forward and draw a dragon and a phoenix above the front. It has the property of attracting souls to heaven.
"Character Controlling the Dragon" shows a nobleman in a dangerous crown and robe standing sideways, riding a giant dragon flying into the sky
"Zhu" is mainly written with text, surrounded by images of gods and animals. The most prominent one is the three-headed figure.
2. The influence of Warring States silk paintings on later figure paintings
I have accumulated a certain amount of experience in painting practice such as using pens and colors. The technique of outlining figures with ink lines has become the traditional painting expression technique of later generations. laid a certain foundation for its development.
Chapter 3 Qin and Han Art
(1) Qin and Han Paintings
1. The themes and characteristics of the silk paintings in Tomb No. 1, Mawangdui, Changsha, Western Han Dynasty
Theme: Begging the soul to return to heaven; it has a strong superstitious color and organically connects the three parts. It is a rare expression technique and the picture highlights the noble identity of the tomb owner.
2. Painting skills of the silk paintings from Mawangdui Tomb No. 3 in Changsha, Western Han Dynasty
Painting skills: Various techniques such as front and half sides can be used to shape the characters.
3. The drawing method of Western Han Dynasty silk paintings in Jinqueshan, Shandong Province
Flexibly use light ink lines and cinnabar lines to start the draft, and then flat-paint them with various colors. (Pioneer of the boneless painting method)
4. The reason for the rise of murals in Qin and Han tombs
Affected by the prevailing trend of murals.
5. Important representatives and main themes of the tomb murals of the Han Dynasty
Important representatives: The murals of the Eastern Han Dynasty Tomb No. 1 in Wangdu, Hebei Province. The silk paintings of the Han Dynasty mainly reflect the tomb owner’s desire to ascend to heaven and express the deceased’s life style. Prominent life. There are more than 80 themes, such as the city shogunate, music and dance, manor production, filial sons and daughters, etc.
6. The main functions of court paintings in the Han Dynasty
For propaganda or political purposes
7. Representative figures of literati painters in the Han Dynasty
Zhang Heng, Liu Bao, Cai Yong, Zhao Qi, etc.
(2) Sculptures of the Qin and Han Dynasties
1. The main artistic characteristics of the Qin Dynasty's pottery terracotta warriors
They are all hand-sculpted, with realistic style and simple image. The overall layout uses many upright repetitions and is majestic.
2. The stone carving techniques and representative stone carvings of Huo Qubing’s tomb in the Han Dynasty
The technique adopts the technique of carving according to the material. The representative stone carving is "Horse Trampling the Huns"
3. The main categories of pottery figurines of the Han Dynasty
Princes’ terracotta warriors and horses, and folk figurines for daily use
4. The outstanding representative works of bronze statues of the Han Dynasty: "Horse Treading on Flying Swallows"< /p>
(3) Portrait stones and portrait bricks in the Qin and Han Dynasties
1. The concepts of portrait stones and portrait bricks
Portrait stones: with stones as ground and knives as writing The art of painting.
Portrait Bricks: Architectural Decorative Components of the Qin and Han Dynasties
2. Two production methods of Qin and Han Dynasty portrait stones and portrait bricks
3. Qin and Han Dynasty portrait stones and portraits Reasons for the prosperity of bricks
Reasons for the prosperity of bricks: Feudal rulers wanted to satisfy their luxurious life or to assist the state and religion.
4. The main distribution areas and artistic expression characteristics of portrait stones and portrait bricks in the Han Dynasty
Portrait bricks were centered in Luoyang and Zhengzhou in the Western Han Dynasty, and Hunan, Sichuan, Jiangsu and Zhejiang in the Eastern Han Dynasty; /p>
Image stones are roughly distributed in the northern part of Shandong, Jiangsu, Anhui and other important political, economic and cultural areas at that time.
Artistic expression characteristics. . . . . .
5. The subject matter and expression content of portrait stones and portrait bricks in the Han Dynasty
a. Reflecting scenes of labor and life: such as farmers’ labor scenes, rulers’ luxurious lives, etc.
b. Reflecting historical stories and religious myths and legends
(4) Qin and Han arts and crafts
Examples of Qin and Han metal crafts, lacquer crafts and dyeing, weaving and embroidery crafts Artistic achievements
For example, the famous "Changxin Palace Lantern" combines character modeling, smoke ventilation and lighting, which is a perfect unity of aesthetics and practicality.
P66 is not organized.
Chapter 4 Fine Arts of the Wei, Jin, Southern and Northern Dynasties
(1) Theravada Buddhist Art
Style Characteristics of the Theravada System of Early Buddhist Statues
Derived from the Mojuluo style, it is abstract, has a short round face, and large eyeballs. There are three types of hairstyles: snail-shaped bun, snail hair, and bun.
(2) Northern Buddhist Art
The artistic achievements and statue style characteristics of the major northern Buddhist statues
Yungang Grottoes: majestic in shape and rich in content , inherit and develop the Qin and Han traditions, and absorb and integrate foreign essences.
Longmen Grottoes: The continuation of Yungang Grottoes, with a Chinese style and more sophisticated and sophisticated expression techniques.
Gongxian Grotto Temple: round face, plump body, focusing on inner character portrayal.
Clay sculptures of Dunhuang Mogao Grottoes and Maijishan Grottoes
North and South Xiangtang Mountains and Tianlongshan Grottoes: round faces, close-fitting pleats, soft lines, realistic shapes, etc.
< p>(3) Paintings of the Wei, Jin, Southern and Northern Dynasties1. Representative figures of Wei, Jin, Southern and Northern Dynasties paintings, their style characteristics and representative works
Cao Buxing (an earlier well-known painter of Buddhist statues)
Wei Xie (disciple of Cao Buxing, "Historical Records of Wu Zixu", "Portrait of Zhang Yi", etc.)
Dai Kui (Three Horses of Bole, Confucius's Disciples)
p>
Gu Kaizhi's "Pictures of Admonitions of Female History", "Pictures of Luo Shen Fu" and "Pictures of Women's Benevolence and Wisdom"
Lu Tanwei: elegant style and clear image, studied under Gu Kaizhi
Zhang Seng Yao: Influenced by Buddhist painting
Three handed down works of Jiang Shaoyou, Yang Zihua, Cao Zhongda
2, Gu Kaizhi and their main content and expression techniques
"Picture of Admonitions of the Female History": silk, ink painting and light color, with twelve horizontal sections, each paragraph has an original text
"Picture of Luo Shen Fu": a long comic scroll showing Cao Zhi's "Luo Shen Fu", using hook dyeing Techniques of expression
"Pictures of Women's Benevolence and Wisdom": Use vigorous brushwork and emphasize smudged colors
3. The development of landscape painting during the Wei, Jin, Southern and Northern Dynasties
Three Water painting became an independent painting discipline in the Jin Dynasty. During the Southern and Northern Dynasties, it was further matured and improved in theory and practice, ushering in the prosperity of landscape painting in the Sui and Tang Dynasties.
(4) Painting Theory
1. List several major painting theory works in the Wei, Jin, Southern and Northern Dynasties
Gu Kaizhi's "Painting Theory" and "Wei and Jin Shengliu Painting Praise" "Painting Yuntai Mountain", Xie He's "Records of Ancient Paintings", Zong Bing's "Preface to Painting Landscapes", Wang Wei's "Description of Paintings"
2. The two works of Zong Bing and Wang Wei during the formation period of landscape painting Two works on landscape painting
Zong Bing's "Preface to Painting Landscapes" and Wang Wei's "Description of Painting"
3. Gu Kaizhi's three works on painting and their main arguments
a. Expressive theory, b. Emphasis on describing the spirit through form, c. Wonderful imagination.
4. Xie He’s Six Theory of Dharma
1. Vivid charm, 2. Bone method and brush use, 3. Corresponding to the image of objects, 4. Add color according to the category, 5. Business position, 6. Transmission and transfer pattern writing.
Chapter 5 Art of the Sui, Tang and Five Dynasties
(1) Figure Painting of the Sui, Tang and Five Dynasties
1. Yan Liben and his representative works
Early Tang Dynasty A representative of the highest level of figure painting. Representative works include: pictures of emperors of past dynasties, pictures of walking chariots, pictures of tributes, etc.
2. Wu Daozi’s works, style characteristics, and artistic achievements
Pictures of sending children to heavenly kings, and regional disguised pictures , Fu Sheng's Teaching of Sutras, and Ghost Bo Pictures
Using pens vigorously and quickly, and drawing in white, he is most famous for his religious figure paintings
3. The painting characteristics of Yuchi Yiseng
< p>Mainly Buddhist paintings, with characteristics of the Western Regions.4. Zhang Xuan’s and Zhou Fang’s paintings of ladies and their painting styles
Zhang Xuan: The painting of training, the painting of Mrs. Guo Guo’s spring outing,
Painting style: Neat and graceful, plump and rich.
Zhou Fang: Pictures of Ladies with Hairpins and Ladies with Fans
Style: simple and strong clothes, soft colors, and richness.
5. Sun Wei and his works
Sun Wei's "Gao Yi Tu"
6. Famous representative painters of the Southern Tang Dynasty and their works
Zhou Wenju: "Palace Picture Scroll", "Double Screen Chess Picture", etc.
Gu Hongzhong: "Han Xizai's Night Banquet Picture"
Wang Qihan: "Book Survey Picture" 》
Wei Xian: "The Picture of Gao Shi" and "The Picture of Turning Cars at the Gate"
7. The "Four Styles" of Chinese Figure Painting and Their respective Styles
Four styles: Zhang Sengyao, Zhou Fang, Wu Daozi, Cao Zhongda
Style. . . .
?
(2) Landscape paintings of the Sui, Tang and Five Dynasties
1. Representative works of Zhan Ziqian of the Sui Dynasty and their significance in the history of landscape painting
Zhan Ziqian's "Spring Outing", today The earliest surviving complete Sanshui painting.
2. Li Sixun and Li Zhaodao, painters of the Qinglu School of Landscape Painting in the Tang Dynasty, and their works
Li Sixun and his son Li Zhaodao, their father
3. Representative figures of ink landscape painting in the Tang Dynasty
Wang Wei, Zhang Hong, Wang Qia, etc.
4. Wang Wei's landscape paintings And technical characteristics
Ink rendering, there is painting in the poem, and there is poetry in the painting; the style touches on ancient and modern times. The originator of the Nanzong School of Painting
5. Jing Hao and Guan Tong, representatives of the Northern Landscape Painting School of the Five Dynasties, and their works and styles
Jing Hao: Northern Landscape, "Kuanglu Picture"
p>Guan Tong: Learning from Jing Hao’s Biography of "Mountains Waiting for Crossing" and "Guanshan Travels" The simpler the writing, the stronger the spirit, the fewer the scenes, the longer the meaning
6. Dong Yuan and Ju Ran, representatives of the Southern Landscape Painting School of the Five Dynasties, and their works and styles
Dong Yuan: "Pictures of Xiaoxiang", "Pictures of Longsu Suburban People", "Pictures of Summer Mountains", etc. He is good at using hemp chaff
< p>Ju Ran: A disciple of Dong Yuan, his paintings are light mist and light ink, with flowing smoke and clouds.(3) Paintings of landscapes, flowers, birds and pommel horses of the Sui, Tang and Five Dynasties
1. Painters and representative works of pommel horses
Cao Ba (none of his works exist today)
Chen Hong's "Eight Gong Pictures"
Wei Wuxian (the records of "Traveling Horses" and "Scattering Horses" have not been handed down)
Han Qian's "Herding Horses" "Picture" "White Picture at Night"
Wei Yan's "Picture of Two Riders"
2. Famous cow painters and their extant works
Han Huang's "Picture of Five Cows" ",
Dai Hao's "Bullfighting Picture"
3. Representative painters and artistic achievements of flower-and-bird paintings in the Tang Dynasty
Xue Ji: good at painting cranes,
Yin Zhongrong: good at calligraphy and painting
Bian Luan: the founder of flower-and-bird painting
4. Which two styles are referred to by the "Xu Huang variant" of flower-and-bird painting in the Five Dynasties, and what are their characteristics
p>Huang Quan's "Huang Family Wealth and Honor"; the first boneless method
Xu Xi's "Xu Family's Wild Ease"; lines are the main color and colors are supplemented
(4) Religious tomb murals and Stone line drawings
The interaction between the religious murals and tomb murals of the Tang Dynasty and the paintings of that time. . . .
(5) Sculptures of the Sui, Tang and Five Dynasties
1. Representatives of tomb stone carving art in the Tang Dynasty
Taizong’s Zhaoling, Gaozong and Wu Zetian’s Qianling, The Shun Tomb of Wu Zetian's mother
2. Important sculptors of the Sui and Tang Dynasties
Han Botong, Song Fazhi, Wu Daozi, Yang Huizhi, Zhang Aqian, Wang Naier, etc.
3. The achievements of sculpture art in the Tang Dynasty and its influence on later generations
It integrated the achievements of sculpture art in the north and south during the Southern and Northern Dynasties, and absorbed the nutrients of foreign art through the Silk Road. , sculpture art flourished in the heyday of the Tang Dynasty, creating immortal masterpieces with the style of the times. Mainly expressed in mausoleum stone carvings, religious sculptures, pottery sculptures, etc.
Guo Xi, a painter of the Song Dynasty, was inspired by Yang Huizhi and created the "shadow wall" art that combines sculpture and painting.
(6) Arts and Crafts of the Sui, Tang and Five Dynasties
Representative works of ceramic art in the Tang Dynasty
Tang Sancai: low-temperature glazed pottery
Chapter 6 Song Dynasty Yuan Fine Arts
(1) Landscape Painting of the Song and Yuan Dynasties 1. What are the representative works and style characteristics of the four masters of the Northern Song Dynasty?
1. Li Cheng: mostly wrote about the distant scenery of cold forests, "Reading Stone Tablets", the weather is desolate and sparse, the forest is clear and open
2. Fan Kuan's "Traveling in Streams and Mountains", Chongshan The mountains and hills are majestic, the writing is solid, and the rocks are "chapped with raindrops"
3. Guo Xi's "Early Spring Picture" is characterized by its mysterious and mysterious layout, ingenious layout and various changes. The rocks are like "chaotic clouds". The trees are like "crab claws"
4. Brothers Zhao Boju and Zhao Bosu: "Autumn Colors of Rivers and Mountains" and "Ten Thousand Pines and Golden Towers" are extremely sophisticated and have high morale.
2. The main points of Guo Xi’s landscape painting theory "Linquan Gaozhi Ji"
Proposed the "three distant" composition and scenery method; that is, "high, deep and flat" and proposed the value of landscape painting Discussion
Propose the learning method of landscape painting, propose the observation of the beauty of landscape, and propose the role of landscape painting in accumulating self-cultivation and containing the spirit
3. Representative works and style characteristics of the four masters of the Southern Song Dynasty< /p>
Li Tang's "Ten Thousand Valleys of Pine Winds" and "Clear Streams of Fishes Hidden" A large ax cracked and vigorous ink painting Liu Songnian: "Four Scenes of Landscape" is elegant and delicate
Ma Yuan's "Ta Ge" "One corner composition, character plot and landscape combination Xia Gui's "Twelve Landscape Scenes" is good at half-side framing
4. Other landscape painters in the Song Dynasty
Xu Daoning, Zhai Yuanshen, Wang Shen, etc. Yan Wengui, Zhao Lingrang, Mi Fu and his son, Wang Ximeng
Xiao Zhao, Ma Hezhi, Jiang Shen, etc.
5. Representative works and painting style of Zhao Mengfu in the early Yuan Dynasty
"Picture of Autumn Colors of Magpie Flowers"; advocates the ancient arrangement of Song Dynasty, elegance and simplicity, and the combination of calligraphy and painting.
6. The meaning of "retrospective" advocated by Zhao Mengfu
Advocates ancient ideas and strives to exclude the Southern Song Dynasty painting style.
7. Representative works and style characteristics of the four masters of the Yuan Dynasty
Huang Gongwang's "Dwelling in Fucunshan Mountain" uses ink or light crimson color to express the scenery of Jiangsu and Zhejiang. Wuzhen's "Fisherman" heavily uses ink. , more wet dyeing.
Ni Zan's "Autumn at the Fishing Village" has many thin trees and flat slopes. Wang Meng's "Hermitage in Qingbian" has thousands of rocks and ravines, dense and high mountains, and the compositions are mostly high and far-reaching
8. Yuan Dynasty Other representatives of modern landscape painting
Qian Xuan, Gao Kegong, Zhao Yong, Cao Zhibai, Tang Di, Zhu Derun, Sheng Mao
(2) Figure painting of Song and Yuan Dynasties
< p>1. Representative painters of religious figure paintings in the Northern Song Dynasty and their works and artistic characteristicsWu Zongyuan, following Wu Daozi, "Chaoyuan Immortal Battle Picture"
2. Reduced brushstrokes in the Southern Song Dynasty Representative painters of figure paintings and their works
Liang Kai's "Budai Monk Picture", "Li Bai Xingyin Picture", "Sixth Patriarch Cutting Bamboo Picture", etc.
3. Representative painters of genre paintings in the Song Dynasty and his works
Zhang Zerui's "Along the River During the Qingming Festival"
4. Representative painters of figure painting in the Yuan Dynasty
1 Qian Xuan and Zhao Mengfu's ancient style paintings 2 Wo's line drawing figures 3 Wang Yi's portraits 5. Representatives of religious murals in the Yuan Dynasty
Buddhist Mogao Grottoes Cave 3 and Tibetan temple murals
Taoist Yongle Palace murals
p>
(3) Flower-and-bird paintings of the Song and Yuan Dynasties
1. The name of the painting academy in the Song Dynasty, "Hanlin Painting Academy"
2. The flower-and-bird paintings of Song Huizong Zhao Ji and their style
p>
"Hibiscus and Golden Pheasant", "Red Polygonum and White Goose", "Autumn Evening on the Pond" and "Willow and Crow"
Weizong is famous for its neat and meticulous colors and its emphasis on realism.
3. Other representatives of flower-and-bird painters in the Song Dynasty Painting Academy
Zhao Chang (good at using colors), Yi Yuanji (good at painting apes), Cui Bai (versatile), Li Di (out of Huang Dynasty) The family is rich and prosperous, developing in the direction of desolation and leisure) Lin Chun (neat and delicate)
4. Representative figure of the literati flower-and-bird painter in the Song Dynasty
Wen Tong, good at painting bamboo "Ink Bamboo Picture" , Seng Zhongren and Zhao Mengjian are all famous for their plum paintings.
5. The two major styles of flower-and-bird painting in the Yuan Dynasty
Tiyuan style flowers and birds, meticulous coloring, representing wealthy people, Zhao Mengfu, Ren Renfa and Wang Yuan.
Representatives of literati flowers and birds include: Li Jin, Zhao Mengfu, Ke Jiusi, Wang Mian, Wang Yuan, etc.
6. Representatives of the Yuan Dynasty who were good at painting bamboo, plum, and ink flowers and birds
Li Qu (kàn) painted bamboo, Wang Mian painted plum, Wang Yuan and Zhang Zhong painted ink. Plum blossoms
(4) Sculptures of the Song and Yuan Dynasties
Characteristics and representative works of religious sculptures of the Yuan Dynasty
The biggest feature of carved calligraphy in the Yuan Dynasty is the religious themes and various ethnic groups communication and integration trends.
Among them, the more important ones include the statue of the Heavenly King in the Juyongguan Crossing Tower; the Moyan statue in Feilai Peak in Hangzhou; the Eighteen Arhat statues in the White Horse Temple in Luoyang; and the Twenty-Eight Arhats statue in the Jincheng Jade Emperor Temple.
(5) Arts and Crafts of the Song and Yuan Dynasties
1. The five famous kilns of the Song Dynasty and their respective characteristics
"Ding, Ru, Guan, Ge and Jun" are famous There are five famous kilns in the Song Dynasty.
1 Ru kiln: The glaze is thick and moist, green or dark gray, with printing and engraving. 2 Jun kiln: The fetal bones are the color of sheep liver, thick and opaque, and the kiln-colored spots are extremely beautiful.
Famous for purple, red, green and white. 3 Ding Kiln: Mainly white glaze porcelain, which is thin and light, with elegant patterns
4 Guan Kiln: Glaze colors include moon white, pink green, big green, etc. Ge Kiln: Baijun broken, caviar pattern, Glaze colors include moon white, pink green, etc.
2. The origin of Yuan Dynasty porcelain and its respective characteristics
Jingdezhen and Longquan kilns in the south and Jun kiln in the north
Jingdezhen: white porcelain was developed, and the underglaze Red decoration, thick, heavy, simple and vulgar
Longquan kiln: glaze color is green with green, supplied for export.
Jun kiln: coarse.
Chapter 7 Ming and Qing Fine Arts
(1) Ming and Qing Landscape Paintings
1. Zhejiang School Landscape Painters and Works of the Ming Dynasty
Early Ming Dynasty A representative of landscape painting, he studied under the auspices of the Southern Song Dynasty.
Dai Jin (the founder of Zhejiang School) "Returning to the Boat after Storm", "Fishing Boat in the Moon", "Spring Mountains Accumulating Green", "Xitang Poetry", etc.
Wu Wei: " "Walking in the Snow in Search of Plum Blossoms", "Ten Thousand Miles of the Yangtze River Picture", "Snowy Landscape Picture", "Baqiao Wind and Snow Picture", etc.
Lan Ying: "Landscape Album", "Autumn Valley Frost Forest Picture", "Stream and Mountain Drag Stick Picture"
2. The works and style characteristics of the four Wu sects
In the mid-Ming Dynasty, the Wu sect emerged. It was founded by Shen Zhou and established in the "Wen Zheng zhǐ Ming". There were also Tang Yin, Qiu Ying, etc. Shen Wen and Qiu Ying were collectively known as the "Four Wu Schools"
1 Shen Zhou : In the early stage, it was careful and detailed, learning from Wang Meng; in the later stage, it was rough and simple, following the model of Wu Zhen. "Twelve Scenes of Wumen" and "High Pictures of Mount Lu"
2. Wen Zhengming: There are also thick and thin styles, and he is good at the fine ones, such as "Green Shadow Pictures of Qinghua", "Zhenshangzhai Pictures", etc.
3 Tang Yin (Tang Bohu): The handling of the subject matter is more ideological. "Riding a Donkey Returning and Thinking" and "Spring Mountain Companions"
4 Qiu Ying: There are both green and green ink, "Taoyuan Wonderland" and "Stop to Listen to Ruan"
3. Late Ming Dynasty Representatives of the Huating School
In the late Ming Dynasty, the Songjiang generation in Shanghai. The representative figure is Dong Qichang: he reversed the decline of the Wu and Zhejiang factions. He advocated imitation of ancient times and learned from Dong Yuan, Mi Fu, etc.
4. Dong Qichang's painting style and representative works
Pursue the expressive power of the changing relationship between pen and ink caused by incorporating calligraphy into painting. Emphasize the momentum in the layout, the virtual and real in the pen and ink, and pursue the implicitness of the picture.
There are two styles of painting: one is dry ink, and the other is boneless or light crimson
"Imitation of Mie's Ink Landscape" and "Imitation of Tang Dynasty Ascension Boneless Landscape" "Eight Scenes of Autumn"
5. Other famous landscape painters and works of the Ming Dynasty
The more famous ones include the early "Huashan" by Wang Lu and "Mountain" by Wang Fu. "Ting Wen Hui Tu", "Fengcheng Farewell Chant Tu", and Zhou Chen's "Tian Jia Tu" in the middle period cultivated Tang Yin and Qiu Ying.
6. The artistic style of the "Four Kings" and Wu Li in the early Qing Dynasty
Wang Shimin: I learned from Dong Qichang, "The painting is not about the shape, but the beauty of the brush and ink." In the early years, his works were elegant, gentle, neat and precise, while in his later years, his works were more rough and rough, with an air of wildness and wildness. "Summer Mountain Waterfall" etc.
Wang Jian: The brushwork is outstanding, the ink is thick and moist, the trees are lush, the ravine is deep, the chamfering method is bright and ethereal, and the rendering is ingenious, with the characteristics of Shen Xiong and ancient elegance. Interplanting with green and heavy colors can also be beautiful and harmonious. "The Floating Lands and Warm Green Pictures" etc.
Wang Huihuī: It has the widest range of inspirations for the ancients. Although most of the works are antique, they are elegant, profound and elegant, with profound skills, but sometimes they are too rounded or too revealing. It falls off in old age and becomes confused. "Pictures of Fishing and Fun in Xishan"
Wang Yuanqi: Wang Shimin's grandson, who calls himself the "Vajra Pestle" on his pen. He is good at using dry pens and burnt ink, layer upon layer of scratching, without getting tired of it, and has a rich flavor, "ripe but not sweet, raw but not astringent, light but thick, solid but clear"
Wu Li: Combining the strengths of various schools , created his own look, created "yang-faced"
7. The artistic style of the Three Painting Monks in the Qing Dynasty
Hongren: "I dare to say that heaven and earth are my teachers", the layout of the paintings is strange Wu, a large rock wall stands in the close view, and the mountains in the distance are dim and hazy.
Kunkūncan: His paintings are divided into two parts, namely, learning from his predecessors and learning from nature. Tradition and nature merge to form its own style.
Shi Tao: Bold innovation and creative spirit, advocating innovation, breaking the stereotypes of predecessors, and eradicating the malaise of the time.
8. Representatives of the "Eight Jinling Families"
Gong Xian, Fan Qiqí, Gao Cen cén, Zou Zhe, Wu Hong, Ye Xin, Hu Zhen and Xie Sun< /p>
Gong Xian has the highest achievement, and his style is divided into two types: black Gong and white Gong. "White Gong" refers to his simple works with no or less cracks, and "black Gong" refers to his late works. "Stream" "Endless Mountain Picture", "Flying Fountain Picture on the Wall" and so on.
(2) Flower-and-bird paintings of the Ming and Qing Dynasties
1. Representative figures and style characteristics of court flower-and-bird paintings of the Ming Dynasty
Bian Wenjin: Good at painting fruit and feathers, and his methods "Huang Family", whose representative works include "Bamboo and Crane Picture"
Lin Liang is good at ink painting of flowers and birds, with accurate shapes, strict rules, broad and powerful brushwork, and bold ink. It played a pioneering role in the true establishment of literati flower-and-bird painting. The representative work "Illustration of Eagle Starling"
Lv Ji: There is "Image of Mountain Birds with Osmanthus and Chrysanthemum" in fine brushwork and heavy colors, and there is also "Image of Eagle and Heron in Broken Lotus" with freehand ink and light colors;
2. Wu School literati Representative works of flower-and-bird painting
Wu School's flower-and-bird painting reflects the development of literati flowers and birds (themes and techniques) in the Ming Dynasty.
Shen Zhou's "Myna Pictures on Dead Trees", "Ink Flower Pictures" and " "Ciwu Picture"
Wen Zhengming: There are many orchid and bamboo themes, "Black Bamboo Picture" and "Cold Fragrance Fairy Picture"
Tang Yin's "Spring Rain Songbird Picture" and "Black Plum Picture"
3. Representative figures of freehand ink flower-and-bird paintings in the Ming Dynasty and their works and influences
Chen Chun's "Kuishi Tu" launched the freehand ink flower-and-bird style.
Xu Wei's "Miscellaneous Flowers Scroll" is a painter who truly completed the freehand ink painting of flowers and birds. The brushstrokes are wild and free, and the ink is dripping, which is a sign of maturity in freehand flower and bird painting.
4. The style characteristics of Yun Shouping and Zhu Da's flower and bird paintings in the Qing Dynasty
Yun yùn Shouping: either pure color painting, embodying color in the brush, bright and clear, and subtle creativity; or ink color Used together, they complement each other and become interesting, elegant and light, sparse and elegant. Zhu Da: simplification, exaggeration, deformation
5. Representative painters and styles of the "Eight Eccentrics of Yangzhou"
Wang Shishen, Huang Shen, Jin Nong, Li E, Zheng Xie, Li Fangying, Gao Xiang, Luo Pin
1 Zheng Xiexiè: Use bamboo painting to express its thoughts and emotions, and propose that art should be copied from heart to hand and the charm should be the first. His representative works include "Bamboo Cluster Picture" 2 Li Eel: He uses his pen freely and boldly, making bold innovations in subject matter and pen and ink. Representative works: "Panana Sleeping Goose" and "Turkey Peony"
3. Jin Nong: The composition has unique artistic conception, the image is clumsy, the pen and ink are solemn, the style is ancient, and he is good at painting bamboo
4. Huang Shen: People are the main subject, landscapes, flowers and birds are secondary. 5. Wang Shishen: Famous for his paintings of plum blossoms, with dense stamens and numerous branches, light and elegant.
6. Gao Xiang: He is also famous for painting plum blossoms, and he can also paint landscape portraits. 7. Li Fangying: Paints plum blossoms, orchids, bamboos and chrysanthemums. 8 Luo Pin: A disciple of Jin Nong, the only one among the eight monsters who can paint murals. Well informed.
6. Representative painters of the "Shanghai School"
Shanghai School seeks change and likes innovation. Vibrant and unconventional.
San Ren (brothers Ren Xiong and Ren Xun, apprentice Ren Yi), Zhao Zhisuan (the founder of the Shanghai style), Xu Gu, and Wu Changshuo.
(3) Figure Painting of the Ming and Qing Dynasties
1. Representative figures of the Zhejiang School of court figure painting in the Ming Dynasty
Based on the style of the Southern Song Dynasty, the brushwork is characterized by rough and vigorous style. The paintings pay attention to momentum
Representative figures include: Guo Xu, Wu Wei, and Dai Jin (all three have neat and extensive styles)
2. Representative works of Tang Yin and Qiu Ying, and Style characteristics
Tang Yin of the Wu School: freehand brushwork in ink and fine brushwork. "Autumn Wind Fan Picture" (part-time writing) is the representative of his ink works. The representative of fine brushwork is "Picture of Meng Shu Palace Prostitutes" (the lines are thin and flowing, and the colors are beautiful and bright.)
Qiu Ying: There are also two painting methods: fine color and rough ink painting. "Picture of Tamping Clothes" with fine brushwork and heavy colors; "Picture of Sleeping under the Willows with Qin" in thick brushstrokes
3. Representative figures and painting styles of "Chen Chen from the South and Cui from the North"
Chen Hongshou: the character who achieved the most protrude. The style features exaggeration and deformation, and the characters are ancient and elegant; the "Lady Picture" is delicate and elegant, with a classical interest. "Cage Goose";
Cui Zizhong: The painting style is also characterized by ancient deformation, but it is gentler than Chen Hongshou.
"Pictures of the Jade Girl in the Clouds" and "Pictures of a Night Banquet in the Apricot Garden"
4. Representative painters and technical characteristics of portraiture in the Ming Dynasty
Ding Yunpeng: Good at figures. In his early years, his brushwork was elegant and delicate. In his later years, he became Thick and vigorous, unique in its own way. "Sprinkling Picture" and "Washing Elephant Picture"
Zeng Jing: Influenced by Western figure paintings, he integrated it into traditional portraits to create a unique style. "Portrait of Zhang Qingzi"
5. Representative painters of figure painting in the Qing Dynasty
In the early stage of the Qing Dynasty, figure painters such as Yu Zhiding, Jiao Bingzhen, Gai Qi, and Fei Danxu were famous. In the later period, "San Ren (Ren Xiong, Ren Xun, Ren Yi)" was represented.
Chen Hongshou's system: ancient and majestic, with strong writing power (in the early period, Gao Qipei (created "finger painting"), Su Liupeng and Su Changchun, in the later period, "three terms");
Qiu Ying System: precision workmanship, elegance and elegance (Yu Zhiding [win with line drawing], Lang Shining, Jiao Bingzhen, Leng Mei)
(4) Ming Dynasty murals, prints and New Year paintings
1 , representative works of Ming Dynasty printmaking
The more famous ones include: Illustrations of the Romance of the West Chamber, Illustrations of Water Margin, Illustrations of Qinglou Rhymes, Illustrations of Peony Pavilion, Shizhuzhai Painting Book and Shizhuzhai Notebook
2. The origin of Ming Dynasty New Year paintings and their respective style characteristics
Tianjin Yangliuqing paintings: Influenced by Beijing prints and courtyard paintings, they are detailed and vivid, with fresh and elegant colors and exquisite inscriptions. Pursuing the painting effect, combining color overprinting and painting, it has the brilliant effect of Sydney
Suzhou Taohuawu: Influenced by southern prints, it is rigorous and refined, and the characters have smiling expressions. Focus on depicting the increasingly prosperous urban landscape and citizen life.
Yangjiabu, Weixian County, Shandong Province: exaggerated in shape, complete, full, balanced and decorated, with bright and contrasting colors, good at expressing rural life customs and folk opera stories. It has strong folk custom characteristics.
(5) Ming and Qing sculptures
Characteristics of Ming and Qing sculptures
Among them, ritual sculptures (such as stone lion images in the Ming Dynasty) and religious sculptures, especially in The works produced under the direct control of the imperial government were large in scale, made of valuable materials, and exquisitely crafted, but most of them lacked creativity and vitality.
Some small ornamental sculptures that have a closer relationship with the broad masses of the people have developed significantly and become a vibrant scene, representing new achievements in sculpture art in this historical period (such as Tianjin "Clay Figure Zhang").
(6) Arts and Crafts of the Ming and Qing Dynasties
Characteristics and main production areas of Ming-style furniture
Ming-style furniture has simple shapes, smooth lines and moderate decoration. Paying attention to the unity of functionality and artistry, there are three main places of production: the "Queen's Prison" of the royal family in Beijing; Suzhou and Guangzhou, the centers of folk sound fields.
Chapter 8 Modern Art
(1) Modern Chinese Painting
1. What are the three major periods of modern Chinese painting?
Modern art can be divided into three stages:
1. The modernization of Chinese art (1911-1927); 2. The mixing of Chinese and Western art (1928-1937);
3. The heyday of realist art and its transformation to modernity (1938-1949)
The three major schools of modern Chinese painting:
1. Beijing painting circles (painting trends tend to be conservative , Chen Shizeng);
2. Shanghai Painting School (inherits the innovative spirit of Yangzhou Painting School and accepts the influence of foreign culture and art to a certain extent);
3. Lingnan Painting School (influenced by foreign countries) , boldly integrated Western painting techniques to innovate Chinese painting, Gao).
Outstanding Chinese painters in the middle and late modern times include Zhang Daqian, Pu Xinshe, Huang Binhong and Qi Baishi.
2. Representative painters in the Beijing painting circle and their respective characteristics
Chen Shizeng: advocated the innovation of Chinese painting, took the lead in opposing the bad retro habits of the "Four Kings", and worked hard to restore the excellent tradition created by Chinese painters ; Absorbing the advantages of landscape sketching in Western paintings, he formed the sketching method he pioneered.
Jin Gongbei: The founder of the museum industry and the leader in advocating tradition in the painting circles in the early Republic of China.
There are also Xiao Junxian, Yao Mangfu, Chen Banding, Qi Baishi, etc.
3. Which three painters are referred to as "the three most important ministers in the painting world" and their respective styles and characteristics
Xu Beihong: He studied oil painting overseas and returned to China to focus on art education and improving Chinese painting. , has solid realism skills, and his works contain profound thoughts. His works are divided into two categories: Western paintings and Chinese paintings, with figures as the main focus and animals and landscapes as the secondary focus;
Liu Haisu: Founder of China’s first art academy— -Shanghai Academy of Drawing and Art, focusing on the expression of individuality, bold bearing, unrestrained brushstrokes, and the courage to innovate.
Lin Fengmian: I believe that one year is the driving force for artistic creation. His paintings are rich in emotional color, with smooth and flowing lines and bold colors and inks; the square composition leaves no white space, and the picture is thick and full. He refreshed the Chinese painting world with his philosophical themes and novel forms.
(2) Modern Western Painting
How did oil painting develop in modern China?
During the Enlightenment period, Li Shutong, Li Tiesheng and others went to Japan and Europe to study modern times. Pioneer of fine arts. Li Shutong became the first enlightener to spread Western art in the history of modern Chinese art.
Important painters during the Enlightenment period include Zhou Xiang, Chen Baoyi and others.
After Western painting was introduced to China, it flourished for a while, but then began to falter. During this period, adherents of the Westernization position such as Yan Wenliang, Chen Baoyi, and Pan Yuliang appeared.
Afterwards, outstanding figures in Chinese and Western painting such as Li Yishi and Wang Yachen appeared, as well as representatives of the nationalization of oil painting such as Tang Yihe, Dong Xiwen and Wu Zuoren.
(3) Representative painters and style characteristics of modern printmaking: Li Hua, Huang Xinpo, Gu Yuan, Yan Han, Li Qun, Hu Yichuan, Jiang Feng, Chen Yanqiao, etc.
Modern Chinese printmaking opposes art for art’s sake. Its development was accompanied by war. has its special meaning.
(4) Breakthroughs and representative figures of modern sculpture in realistic modeling
Taking Jiang Xiaolu and Li Jinfa in the 1920s and 1930s as well as Liu Kaiqu, Wang Linyi and Hua Tianyou in the 1940s. Representatives, they went abroad one after another to learn Western sculpture concepts and artistic techniques.
In the 1920s, Shanghai Academy of Fine Arts and other schools established sculpture departments, which cultivated China’s first batch of sculpture talents.
The dawn of modern sculpture appeared in the first National Art Exhibition of the Ministry of Education in 1929, which was exhibited There are more than 50 sculptures. It has far-reaching significance.
In the 1930s, various walks of life in Nanjing established the Sun Yat-sen Bronze Statue Committee