In the Tang Dynasty, Buddhist paintings became more prosperous, among which Wu Daozi was the most famous. He painted more than 300 murals in Chang 'an, Luoyang and other places. His handwriting is magnificent, majestic and elegant, which makes people feel like "taking advantage of the wind". In Du Fu's poems, it is said that "painters look to their predecessors, and Wu Sheng enjoys the scenery alone". Monk Wei Qiyi in the early Tang Dynasty was also famous for being good at Buddhist painting. He has painted murals such as Demon Change, Pure Land Change in the Western Heaven, and Thousand Bowls of Manjusri in Guang Zhai and Jionji in Chang 'an, and his paintings are grotesque and out of the wall, which is full of three-dimensional sense. In the late Tang Dynasty, there appeared a group of painters who were good at figure painting in Buddhism and Taoism, among which Zuo Quan was the most famous. His paintings are "very much like Wu Sheng's traces, which are quite important", and his brushwork is the most heroic. Later generations commented that "fame is high and contemporary, and time waits for no one." Besides, Fan Qiong was also a famous Buddhist painter in Sanchuan at that time. It is said that his paintings "The King of Heaven" and "The Great Sorrow of Sheng Xing Temple" were a sensation. The color of Naypyidaw in the picture is not half finished, and the brushwork is superb, which can't be made up by future generations. During Xian Tong's reign, Chang Can was also good at figure painting of Buddhism and Taoism, and his paintings emphasized verve, which was the first of its kind in Song Dynasty.
During the Five Dynasties, Buddhist painting was also very popular. Famous painters such as Zhu, Zhu, Zhu, Zhu, Wang Renshou and Du Guigui have created many Buddhist paintings, and also related to Xiu and Zhiyun, who are famous for painting arhats.
In the Song, Yuan, Ming and Qing Dynasties, painters set foot in Buddhism, and monks got their hands on painting, which was passed down from generation to generation. Famous painters in the Northern Song Dynasty, such as Gao Yi, Gao, Li, Li, etc., created a large number of vivid Buddhist murals. Among them, Gao Yi's "King of Tower" in Suoguo Temple was once famous. Wang Ai and Wang Renshou were better at figure painting of Buddhism and Taoism, and were favored by emperors at that time. Li, a famous painter, is also based on Buddhism, and has written Vimalaism and Lohan Painting. In the Yuan Dynasty, Zhao Mengfu and Liu Guandao's "Red Tianzhu Juan Monk" and "Luohan Tu" are meticulous and vivid, with unique style. Shi Tao, Badashanren, Xi Shi and Hong Ren in the late Ming and early Qing Dynasties were also called the "four great monks" in painting. Their paintings are "as clever as they are, and there is nothing to learn from". Their brushwork is broad and vivid, which has a great influence on later generations.
It is worth mentioning that there is a unique Zen painting in the history of China painting. This kind of painting is lofty and indifferent, detached and free and easy, and the artistic conception of Zen machine is vividly on the paper. Wang Wei of the Tang Dynasty started it. ;
Wang Weixi is fond of mountains and rivers, fascinated by Zen, and good at painting. His poems are picturesque, and his paintings are poetic. Su Dongpo once said in the book Lantian misty rain; "The poem of interest is fascinating, and there are pictures in the poem; Look at the picture, there are poems in the picture. " The characteristic of Wang Wei's painting is to splash ink into four tones: deep, light, thick and light, which are used to express rocks and trees. Different from green mountains and green waters, Wang Wei has a natural and elegant taste. This kind of painting style has broken through the painting method that was limited to thin lines in the past, and adopted the technique of splashing ink on mountains and rivers, which has richer brushwork and far-reaching artistic conception. From the perspective of painting theory, splash-ink landscape painting pays more attention to "wonderful enlightenment" Wang Wei said in "Landscape Tactics" that "a wise man doesn't say much, but a good scholar still abides by the rules", which is quite similar to Zen's "truth is more than rhetoric" and "seeing the mountain after 30 years". In fact, Wang Wei's paintings, like his poems, are deeply influenced by Zen. His "Wangchuan Villa" and so on, the valley is gloomy, clouds and water fly, which looks cold, quiet, distant and ethereal; In Yuan An's snow scene painting, there are plantains in the snow, which seems counterintuitive, but conforms to the leaping thinking mode of Zen. Many of his paintings, regardless of the four seasons, are a peach, an apricot and a lotus, and they are also Zen. Later generations talked about Wang Weizhi's paintings; "The idea is beyond the dust, and it is strange to write." "It is handy and successful, and it is difficult for laymen to say it." This kind of Zen painting with Zen in it is called "Southern Sect" in the history of painting. Shen Hao said in "Painting Dust": "Zen and painting are divided into north and south, and their fate is to turn their backs on the enemy. The king of the south moved, the structure was beautiful, and the mountains were quiet and light, which opened the mountain for literati. Such as Jing Ke, Guan, Hong, Manie, Dong, Ju, Zi Jiu, Mei Cuo, Yu Weng, and even Shen and Wen in the Ming Dynasty, all have endless bright light. In the north, Li Sixun, who has a strong personality, is impetuous and works hard to build a building for experts. If Zhao Gan, Boju, Bozi, Ma Yuan, Xia Gui, and even Dai, Wu Xiaoxian, and Zhang Pingshan, the day will be a fox Zen, and the clothes will be dust. " Judging from the painting style and Zen style, Wang Weizhi's Zen paintings are mainly influenced by the Southern Sect of Zen.
The Zen paintings initiated by Wang Wei had a far-reaching influence on later generations. Zhang Zao and Wang Mo, which Wang Weixin wanted, were once very popular. Some people say that Zhang Zao's painting: "This is not a painting, this is the truth. When something happens, he has been sent to be smart, and his meaning is mysterious, but the matter lies in the spirit house, not in the eyes and ears. " This article is really about the work of Zen. When Wang Mo paints, he splashes ink with his hand, responds at will, or sings or laughs, just like an epileptic monk.
Down to the Song and Yuan Dynasties, the Nanzong Zen painting initiated by Wang Wei was more respected. Wang Wei was promoted to the position of the ancestor of Nanzong, which was largely the result of Su Dongpo's vigorous advocacy of the Song Dynasty. At the same time, several great painters in Song Dynasty, such as Hao Jing, Guan Tong, Dong Yuan and Ju Ran, all studied Wang Wei's brushwork. Mi Fei and his son are one of the giants of Southern Sect, and their paintings are also full of Zen artistic conception. Mi Fei once said: "The ancient and modern mountains and rivers learn from each other, and those who stand out in the dust will walk because of their faith, and there are many clouds to build trees and stones, but they will not give up." This sentence has a color beyond the ancestors of Buddhism and Zen. You Ren, son of Mi Fei, said: "Wang Mo is unique in ancient times and modern times. His courtiers have many secrets. Because of since the enlightenment's beauty, I appreciate his brushwork, but I laugh. " He also said: "Wang Wei's paintings are the most common, all depicting, and not enough to learn." Only Yunshan is an ink opera. "It's cursing ancestors. He also wrote a poem: "As a rootless tree, you can describe clouds. Now it is for the royal family, not for idle people. " Among them, "Meng Hongyun" is the original painting method of Mijia, which can perfect the landscape and is actually the reappearance of Zen in his chest.
Throughout the painting circles after the Song and Yuan Dynasties, its rise and fall are often closely related to the development of Zen. When Zen Buddhism flourished, the painting world flourished, and when Zen Buddhism declined, the painting world was neglected, which shows the influence of Zen Buddhism on painting.