The Six Dynasties refers to the three kingdoms, namely, the Song Dynasty, the Qi Dynasty, the Liang Dynasty and the Chen Dynasty, all of which took Jiankang (Wuming Jianye, now Nanjing, Jiangsu) as their capital. Fourth, in the history of painting, refer to Cao Buxing in Soochow, Gu Kaizhi in Eastern Jin Dynasty, Lu Tanwei in Southern Song Dynasty and Zhang Sengyou in Southern Liang Dynasty. The evaluation of the paintings of the Six Dynasties in the Tang Dynasty is: "Zhang (monk) gets his flesh, Lu (exploration) gets his bones, and Gu (opening) gets his spirit." Paintings of the Six Dynasties are rare, especially those of Cao Buxing. Tang Hou in Yuan Dynasty thought that Cao Buxing's "Military Symbol Map" was "vividly written, and it was suspected that it was written by people in the late Tang Dynasty and early Song Dynasty".
Four schools in Southern Song Dynasty
Li Tang, Liu Songnian, Ma Yuan and Xia Gui, landscape painters of the Southern Song Dynasty. This is a simple painting style. At the beginning of Yuan Dynasty, Tang Hou said, "Li Tang, Zhou Zeng, Ma Yuan, Xia Gui, Li Jue, Li Anzhong, Lou Guan and Liang Kai, all the people named in the Southern Song Dynasty Painting Academy have been appreciated by Li Tang, and the rest can't stay alone." The proposer of this theory is Tang Yin's inscription and postscript to Liu Songnian's "The Hidden Map of Spring Mountain" in Ming Dynasty, which is called "Li, Liu, Ma and Xia". Later, Tu Long said: "Li Tang, Liu Songnian, Ma Yuan, Xia Gui, the four great families after crossing the south." Zhang Chou said: "Liu Songnian was the crown in the Southern Song Dynasty, followed by Li Tang, Ma Yuan and Xia Gui." Zhang Taijie said: "Liu, Li, Ma and Xia all have the weight of fame, but Li and Ma are the heaviest."
Yuan Sijia.
The collective name of the four representative painters of landscape painting in Yuan Dynasty. There are two main versions: one refers to Zhao Mengfu, Zhenwu, Huang Wang Gong and Wang Meng, as shown in the appendix of Yi Yan Yuan by Wang Shizhen in Ming Dynasty. Second, it refers to Huang, Wang Meng, Ni Zan and Zhenwu in Dong Qichang's Collection of Rong Tai Biezhi in Ming Dynasty. The second is popularity. Zhao Mengfu, Gao, Huang, Zhenwu, Ni Zan, and Wang Meng are collectively called "Yuan Six Family". Although the painting styles have their own characteristics, they were mainly developed on the basis of Ju Ran in the Eastern Yuan Dynasty and the Northern Song Dynasty. They were the mainstream of landscape painting in Yuan Dynasty, and had a great influence on Ming and Qing Dynasties.
Yuanliujia
Zhao Mengfu, Gao, Huang, Zhenwu, Ni Zan and Wang Meng in Yuan Dynasty. See "Yuan Sijia".
Southern and northern sects
Dong Qichang said two schools of landscape painters in Ming Dynasty. "Rong Tai Bieji Huazhi": "There are two schools of Zen, the North and the South, which began to be divided in the Tang Dynasty; There are two paintings in the north and south, also from the Tang Dynasty, but their people are not in the north and south ears. Father and son of the Northern School painted landscapes, which spread to Zhao Wo, Zhao Boju, Bozi and even Xia Gui in the Song Dynasty. Sand King (Wei), the Southern Zongmo, began to use the method of shading and changing the hook, which was handed down by Jing (Hao), Guan (Tong), Dong (Yuan), Ju (Ran), Guo Zhongshu and Mi Jiafu (Bi and You Ren). Another way of saying it is, "Literati painting began in Wang Youcheng (Victoria), followed by Dong Yuan, Ju Ran, Li Cheng and Fan Kuan's youngest son. Ruoma, Xia, Liu Songnian are also the school of General Li, not Cao. "This theory does not conform to the historical facts of the evolution of landscape painters, and it has the meaning of praising' South' and belittling' North'. In the Ming Dynasty, Chen Jiru (then known as "Dong Chen" with Dong Qichang) made it particularly obvious: "Li sent a thin plate with insufficient morale; Ace Xu and mistress. "In the late Ming and early Qing dynasties, the painting circle echoed, forming the view that' Southern Sect' was' orthodox'.
Mingsijia.
Shen Zhou, Wen Zhiming, Tang Yin and Chou Ying were collectively called in the middle of Ming Dynasty. They are teachers and friends, and their painting techniques have their own styles and characteristics, which have a great influence on later generations. Shen Hewen has a similar style. Later, it developed into the Wu Sect. There were Dai Jin in the early Ming Dynasty, Lin Liang, Wei Wu and Lv Ji in the middle, and Chen Hongshou in the late Ming Dynasty. Shen, Wen, Tang and Qiu do not represent the whole Ming Dynasty.
Nine friends in the painting
Dong Qichang, Yang, Cheng Jiasui, Zhang Xuezeng, Bian Wenyu, Shao Mi, Li, Wang Shimin and Jincon were nine painters in the late Ming and early Qing Dynasties. See Song of Nine Friends painted by Wu in the early Qing Dynasty.
◇ Jinling Eight Families
Gong Xian, Fan Yin, Gao Cen, Zou Zhe, Wu Hong, Ye Xin, Hu Nian and Xie Tiao are collectively referred to as. Their painting themes and styles are different. Because they live in Jinling (now Nanjing, Jiangsu), they are all famous (especially in Gong Xian), so they are called Jinling. See Zhang Geng's Collection of National Dynasty Paintings in Qing Dynasty. In addition, Chen Zhuo, Wu Hong, Fan Yin, Zou Zhe, Cai Linlun, Li Youli, Wu Dan and Gao Cen are the "Eight Schools of Jinling". See Gan Long's "Shangyuan County Records". But what has been said before will become mainstream.
Qing Liu Jia
Landscape painters Wang Shimin, Wang Jian, Wang Yi, Wang, Yun in the early Qing Dynasty. Also known as "Four Kings, Wu and Yun". They enjoyed great fame after Dong Qichang in the Ming Dynasty, leading the painting world and influencing fashion, and were regarded as "orthodox" at that time.
Four kings
Wang Shimin, Wang Jian and Wang Yi are among the "Six Qing Dynasties". The four kings are collectively called. They are related to teachers, friends or relatives, and are directly or indirectly influenced by Dong Qichang in painting fashion and artistic thought. The technique is profound, the painting style advocates antique, and many works are stylized by the situation. And Wang have been in and out of the Forbidden City and traveled all over the north and south. The former, combining the schools of Song and Yuan Dynasties, created a complete style of painting; The latter made a series of Yellow Wang Gong in Yuan Dynasty, which was also successful. The "Four Heavenly Kings" had a far-reaching influence on landscape painting in Qing Dynasty and modern times. There are Wang Yu, Wang Su, Wang Jiu and Chen Wang between Kanggan. Later, Wang Sanxi (real name, real name, Yu Zhi's nephew), Wang (real name, the ninth eldest son), Wang Tingzhou (real name, Kairu, the ninth second son) and Wang painted the "four kings", "just following the previous rules, and there was no innovation breakthrough. The former is called "Little Four Kings" and the latter is called "Last Four Kings".
Four monks in the early Qing Dynasty
Namely Hong Ren (), Kun Can (), Badashanren () and Shi Tao (Zhu Ruoji). Badashanren and Shi Tao were both adherents of the late Ming Dynasty, both of whom belonged to the Ming imperial clan and later became monks. They are all proficient in Zen, lyricism, calligraphy and painting, and each has its own unique attainments. Kun Shen Xi Shi and Shi Tao are also called "two stones".
◇ Eight eccentrics in Yangzhou
Eight representative painters who lived in Yangzhou, Jiangsu Province during the reign of Emperor Qianlong of the Qing Dynasty. Generally refers to Wang, Huang Shen, Jin Nong, Gao Xiang, Shan Li, Zheng Xie, Li,. Li See's Yu Bao's Review of Aupolo's Calligraphy and Painting. Wang, Gao Xiang and Luo were hired as Gao, Bian Shoumin and other eight people. Li Fang was named Min Zhen and Gao, and some of them included Chen Zhuan or Li Wei. See Wang Yan's Record of Yangzhou Painting Academy. His paintings are mainly flowers, landscapes and figures, mainly based on Chen Daofu, Xu Wei, Zhu Da (Badashanren), Yuanji (Shi Tao) and others, and can be eclectic. Open up a new situation and express true feelings; He can also write poems, be good at calligraphy or seal cutting, and pay attention to the combination of poems and books, which is different from the style of ancient imitation popular in painting circles at that time. At that time, he was regarded as an eccentric teacher and a monster, so he was called the Eight Eccentrics. Wang Yan, the defender of "orthodox" painting style, once commented: "The teacher of the Eight Eccentrics paints without unification. This is like the marriage of Su (Qin) and Zhang (Yi), and the inheritance of Xu (Qin) and Huang (Quan). The elimination rate of three strokes and five strokes, the heavy sauce is too embarrassing, (through "rough"); Hu flatters five words and seven words, complacent. If it is not the same interest, it is appropriate to go astray. It is brand-new for a while and only prevails for a hundred miles. " In fact, this school not only has a considerable influence on the interest and techniques of modern freehand flower painting; Until modern times, Qi Baishi, Chen Shiceng, Xu Beihong, Pan Tianshou and Lai Chusheng all learned something from it.
Ten philosophers in painting
Refers to the top ten painters of Loudong Painting School in Qing Dynasty. Namely, Gao Xiang, Gao, Li Shizhuo, Zhang Pengchu,, Wang,,,, Chai Shen.