Porcelain is a sacred territory in the eyes of China people. Just like itself, it is as gorgeous as possible, but extremely fragile, which reflects the contradiction of ancient civilization in China to some extent. The origin of ceramic technology began in ancient times, along the way. After several ups and downs, the recognized ceramic technology was quite proficient in the Tang and Song Dynasties and reached its peak in the Ming and Qing Dynasties. This paper aims to develop the porcelain-making technology in the Tang and Song Dynasties, and briefly explain the relationship between the porcelain-making technology of the two generations and the aesthetic taste of the times.
A major feature of the porcelain industry in the Tang Dynasty is the mass production of white porcelain. 197 1 The white porcelain unearthed in Fan Cui's tomb in the sixth year of Wuping in the Northern Qi Dynasty (575) in the northwest of Anyang, Henan Province is an early white porcelain with a relatively reliable age. The so-called white porcelain, due to the washing and recuperation of porcelain clay, gradually becomes pure white, and the iron content in glaze powder decreases, so the white color of porcelain tire is reflected on the surface. Due to the careful washing of porcelain clay and the improvement of glazing technology, the transition process from celadon to white porcelain was completed at that time. The white porcelain produced in xing zhou is the most famous in the Tang Dynasty, which is as famous as the Yue porcelain in the south of the Yangtze River. Therefore, people often use the saying "the south is blue and the north is white" to summarize the characteristics of the porcelain industry in the Tang Dynasty.
Although it is an indisputable fact that Yue Kiln and Xing Kiln respectively represent the highest achievements of the North and South porcelain industry, the North Kiln also burns celadon, yellow porcelain, black porcelain and flower porcelain, and even a porcelain kiln specializing in burning black porcelain and flower porcelain. In the northern kilns, many kilns have a short history of firing porcelain, so they dare to try and explore. Its glaze color is blue, white, yellow, black, green and flowery, but not greasy. The tire can be painted by overlapping the two colors, forming a texture that is not thin and elegant, but richer, representing a new look of the times that shows self-confidence and enterprising spirit. Naturally, white porcelain was also fired in Jiangnan, and Jingdezhen, Jiangxi Province had already produced white porcelain as early as the early Tang Dynasty. Textual Research on Jingdezhen Porcelain Kilns in the Past Dynasties, Volume 5 of Lu Tao in Jingdezhen, briefly states: "The utensils in the early Tang Dynasty were also made of white clay, with slightly thinner bodies and moist pigments, which were burned by the Taoists in the town. In Wu Dezhong in the Tang Dynasty, Tao Yu, a villager, brought porcelain into the customs, calling it fake jade and paying tribute. " According to this, it can be considered that the vibrant white porcelain at that time had signs of impacting conservative celadon.
Porcelain industry in Yuan Dynasty is the continuation and development of Song and Jin porcelain industry. Yuan porcelain was sandwiched between two porcelain-making peaks in Song and Ming Dynasties, and the transition was very obvious. On the one hand, the traditional products of some famous kilns in Song and Jin Dynasties, such as Cizhou Kiln, Jun Kiln, Jingdezhen Kiln and Longquan Kiln, continued to be fired, especially Longquan Kiln and Bai Qing Kiln. Due to the need of export, the number of large vessels has increased and the production scale has generally expanded; On the other hand, in the middle and late Yuan Dynasty, Jingdezhen officially fired new varieties such as blue and white, red in glaze, cobalt blue glaze, copper red glaze and egg white glaze, which laid the foundation for becoming a porcelain capital in the future. Junyao
In the Yuan Dynasty, Ding kilns and Yaozhou kilns in the north had declined, while Jun kilns and Cizhou kilns continued to develop.
The firing center of the Jun kiln system in Yuan Dynasty was still in Yuxian County, Henan Province. During this period, the influence of Jun porcelain was greater than that of Song Dynasty. Kilns for firing Jun porcelain are widely distributed in Henan, Hebei and Shanxi, forming a Jun kiln system. Different from Song and Jin Dynasties, Yuan Jun porcelain has a thick, rough and loose embryo with sand grains and sand holes, and the embryo is dark gray or khaki. The combination of fetal glaze is not as close as that in Song Jun, and the glaze thickness has big bubbles and brown eyes. The color is generally moon white or blue gray, and some objects have purple spots, which are deliberately smeared by people rather than the natural blooming of copper contained in glaze at high temperature. Thick glaze, naturally drooping, no glaze at the bottom, dark yellow or light brown tires.
Yuan Jun porcelain is generally plain and plain, and some vertical devices, such as stoves, cans and bottles, are printed with decals or plastic patterns, which are ambiguous. Yuan Jun porcelain usually includes plates, bowls, cans, stoves, bottles, cans and so on. The bowl is full of mouth, abdomen, small round feet and residual chicken heart bumps on the soles of the feet. How straight or shallow the furnace is, with a straight neck and a bulging abdomen. There are three small pointed feet or animal feet, and some have ears.
Compared with Jun kiln porcelain in Song Dynasty, Jun kiln porcelain in Yuan Dynasty has been handed down from generation to generation, but its value is far from that in Song Jun. The main reason is that Yuan Jun porcelain is coarse and loose, hard in glaze and rich in world.
Blue-and-white porcelain ware existed in the Yuan Dynasty, and it was cooked in brown sauce in glaze. In-glaze red is a kind of traditional painted porcelain, which is an important achievement of Jingdezhen porcelain industry in Yuan Dynasty. In the Yuan Dynasty, there was only one official kiln in Jingdezhen, and the name "Shu Fu" was burned in the kiln. Yuan porcelain glaze is thick, mostly imitating Jun kiln porcelain, with sky blue and purple spots as the most expensive, and the patterns include painting, printing and carving. During this period, kiln change, blue and white, underglaze red and other techniques appeared. It creates conditions for underglaze decoration and subsequent underglaze decoration. Porcelain in this period, except for a part of the porcelain-making legacy of the Song Dynasty, was generally painted, carved and printed, and a method of painting on the fetus with a brush was created. This kind of porcelain made of colored materials after drawing patterns is called "colored materials" and "colored porcelain" is generally divided into "over-glaze color" and "under-glaze color". After the tire blank is painted with patterns, it is glazed and fired in the kiln, which is called "underglaze color". Painting the pattern on the fired porcelain and baking it by fire is called "underglaze color". Blue and white and underglaze red porcelain in this period belong to "underglaze color". New colors, multicolored colors and pastels after the Ming Dynasty all belong to the category of "on-axis colors".
In short, the Yuan Dynasty inherited the development of the previous generation of porcelain and made some inventions. Thus, it has written a brilliant chapter for the motherland in the history of world ceramics. The outstanding achievements of porcelain in Yuan Dynasty, whether in modeling, decoration or firing technology, laid a good foundation for the further development of porcelain industry in Ming and Qing Dynasties. The influence of Yuan Dynasty porcelain on the history of foreign cultural exchange is also very far-reaching.
Famous painters in Tang, Song and Yuan Dynasties
Tang Dynasty: 1 Chen Hong, painter of the Tang Dynasty. The year of birth and death is unknown. He was born in Huiji (now Shaoxing, Zhejiang). He was once a long history of Yongwangfu and was called into the palace because of his good painting. He is good at drawing figures, portraits and pommel horses, and his portrait of the emperor is known as "the best in contemporary times". The works handed down from ancient times include Eight Gong Tu, which is now in Nelson Art Museum.
2
Li Sixun (65 1-7 16) was an outstanding painter in the Tang Dynasty. Ji Cheng (now Qin 'an, Gansu) was born. Son of Li Xiaobin, the imperial clan of the Tang Dynasty. Once persecuted by Wu Zetian, he abandoned his official position and lived in seclusion; Tang Zhongzong acceded to the throne, named Longxi County as the public, and sealed 200 households.
He is good at painting gorgeous landscapes, flowers, trees, birds and animals, and is famous for his splendid landscapes. His works include Sailing to the Pavilion, which is now in the Palace Museum. Tang Xuanzong once said: "Li Sixun's achievements in a few months and Wu Daozi's achievements in a day are extremely beautiful."
Li Sixun's son, Li Zhaodao, inherited the family business and was also a famous painter. People call them "General Li" and "General Xiao Li".
Yan (60 1-673) was a famous painter in the Tang Dynasty. Yongzhou Wannian (now Lintong, Shaanxi) people. Son of Yan Pi, painter of Sui Dynasty, and brother of Yan Lide.
During the Zhenguan period, he served as a doctor, assistant minister of punishments and a small supervisor. In the early years of Xianqing, he was promoted to Shangshu of the Ministry of Industry. In the first year of the general chapter, the right prime minister was added. His father Yan Pi and his brother Yan Lide are both good at painting, craft and architecture. Yan also inherited his family studies, especially good at painting. He is good at drawing figures, chariots and horses, pavilions, especially portraits and historical figures. His paintings are vigorous and vigorous, full of vigor, simple and steady colors, meticulous brushwork, and meticulous characterization compared with that of Gu Kaizhi. His works are highly praised by contemporary people and listed as "masterpieces" by contemporary people. He painted Eighteen Houses of Qin Xueshi and Twenty-four Heroes of Lingyange for Emperor Taizong, which was praised by people at that time. His works have been handed down from generation to generation, such as Bujitu, Gudi Tu, Guan Gong Tu and Xiao Yi Zheng Lan Ting Tu.
Although Yan is right-handed, because he is good at painting, he has no prime minister and lacks political talent. Jiang Ke was promoted to be left-handed because of his outstanding military exploits. Someone commented: "The left-handed person is Xuanwei Desert, and the right-handed person is called Danqing."
Dong Chen, the word has been re-illuminated. The year of birth and death is unknown, and it is about a figure in the Kaiyuan period of the Tang Dynasty.
In Kaiyuan, most of them were in the square. They were good at drawing cars and cows. Tang Xuanzong ate elephants in the palace, including eighteen people, including Xu Jian, He, Zhao Dongxi, Feng, Kang Ziyuan, Hou Xingguo, Jing, Zhao Xuanmo, Wu Tong, Lv Xiang, Xian Liye, Li Zizhao, Dongfang Hao, Lu Qutai, Yu Qin and Jiliang Sun. There is also a "cart map".
5 Wang Mo (? -805), also known as Wang Mo, [1], was a painter in the Tang Dynasty.
Life is unknown. He is good at splashing ink and often paints landscapes, turquoise and miscellaneous trees. Alcoholic, often splashing ink on silk after drunkenness, "Laugh or chant, wipe your hands with your feet, wave or sweep, light or thick, depending on its shape, mountains are stones, clouds are water." You should do whatever you want. The picture shows clouds and clouds, dyed into wind and rain, just like ingenuity. If you can't see the traces of ink stains, it's all strange. " .
6 Wu Daoyuan (about 685-758) was a Taoist, later renamed Daoxuan, who painted history and respected Wu Sheng. Yang Zhai (now Yu County, Henan Province) was born. China, a famous painter in the Tang Dynasty, is known as "one hundred generations of painting saints".
Wu Daozi was born into a poor family when he was a child. He started as a folk painter. According to legend, he studied under Zhang Xu and He and became a painter when he was young. Later, he became the deputy commander of Xianqiu County, Yanzhou, Shandong Province, and soon resigned. Roaming Luoyang, engaged in mural creation. At that time, he painted for General Pei Minzhi, which was called "Three Musts" by people at that time, including Zhang Xu's cursive script, Pei Minzhi's sword dance and Wu Daozi's painting. During the Kaiyuan period, he was called into the palace by Emperor Xuanzong of the Tang Dynasty because of his good painting. He served as a doctor of sacrifice and writing in the province, changed to Daoxuan and later became an official to the right (official name). Since then, he has been painting for the court. By watching Gong Sundaniang's sword dance, we can learn how to use a pen. Wu Daozi is good at Buddhist and Taoist figure painting, as well as ghosts and gods, figures, landscapes, birds and animals, plants, pavilions and so on. Especially good at Buddhism and figures, good at mural creation. It is reported that he has painted more than 300 murals in temples in Chang 'an and Luoyang, which are strange, but there are no similarities. Among them, "disguised hell" is more famous.
Wu Daozi's painting style is unique. In his early years, his brushwork was fine and dense; Middle age has become vigorous. Mi Fei, a painter in the Song Dynasty, described Wu Daozi's works as "strips of water shield", smooth and delicate, with undulating waves, sometimes missing strokes and sometimes falling, which were wonderful because of his poor brushwork. Later generations called him and Zhang Monk Friends "sparse body". Wu Daozi's characters are full of clothes and lines are vigorous and elegant. At that time, people compared him with Cao, a famous painter of Qi in the Northern Dynasties, calling them "the wind in the Five Dynasties, a grass and water", because the clothes in Cao's paintings were often tightly wrapped around him; Wu Daozi's characters, however, have big sleeves and smooth lines. He used the change of line width to express the concave and convex of the object, which made the line drawing picture three-dimensional. He likes to use Jiao Mo to cross the line, with a faint color, which naturally surpasses silk and is called "Wuzhuang". The lines drawn are simple, with only one or two strokes, as if they had been done. His landscape painting is a scene of Shu Dao, and he is a family; It is also said that it used to be a mural of Jialing River in Datong Hall for more than 300 miles, which was completed in one day. Wu Daozi's paintings have a great influence on later generations. He was honored as a "painting saint" by people and as the founder of the mountain by folk painters. Su Shi once praised him and said, "Painting in Wu Daozi, from ancient times to the present, can be done in the world" and "innovating statutes, leaving good reasons outside the bold".
Wu Daozi enjoys a high reputation in Historical Records, but because a large number of his works are murals, few works have been handed down, and no original works have been handed down. Born of Gautama Buddha handed down today may be a copy of the Song Dynasty, but we can already get a glimpse of the essence of Wu Daozi's brushwork. In addition, there are manuscripts such as Bao Bin Galo Buddha and Daozi Mo Bao, and the Wei Mo Jing Tu in Cave No.1 103 of Dunhuang Mogao Grottoes is also considered as his painting style. Xu Beihong once obtained a remnant scroll, which was identified by him and Zhang Daqian as an original work of Wu Daozi. It may be a sketch of a mural, and it was temporarily named "Eighty-seven Immortals" according to the characters in the painting. This painting is magnificent, leisurely and beautiful, and it is a masterpiece of ancient Chinese painting.
7 Wang Wei (70 1-76 1), born in Qixian County, Shanxi Province, was a poet in the Tang Dynasty, whose alias was "Shi Fo". There are more than 400 poems today.
Wang Wei is well versed in Buddhism. Buddhism has a Vimalakīrti classic, which was told by Vimalakīrti to his disciples. Wang Wei admired it, so he named himself Wei [1].
In the ninth year of Kaiyuan (72 1), Wang Wei was a scholar and a great official. Immediately, he was involved in joining the army for Jeju treasurer because he was forbidden to jump the yellow lion in the department. In the 14th year of Kaiyuan (726), he resigned. Later, he was appointed as the right to collect remains. At the age of 40, he moved to the temple to serve the imperial history, and returned to the north the following year, passing by the crock temple to worship the Zen master. Turn left to fill the gap. 47-year-old foreign minister of the Ministry of Finance. At the end of Tianbao, An Lushan captured Chang 'an, and Wang Wei was coerced by An Lushan and became his courtiers. But he didn't want to live in Wangchuan Villa for a long time, and he once wrote poems to express his feelings. After the Anshi Rebellion, Wang Weiben was awarded the sixth class merit, and his younger brother Wang Jin asked him to cut his post and redeem his younger brother. Later, he was pardoned by Ning Bi, was made a prince, added a bachelor's degree in Jixian Hall, and later transferred to Zhong Shi and Shangshu Youcheng, so he was called "Wang Youcheng" by the world. Early Yuan Dynasty [2].
Wang Wei's poems, paintings and calligraphy are all famous and versatile. Music is also very proficient. Greatly influenced by Zen. He founded the School of Ink and Wash Landscape Painting. In addition, he is also good at figures, religious figures, flowers and bamboo, and is proficient in landscape painting, which has made great contributions. He is called "the father of southern painting". The Record of Famous Paintings in Past Dynasties praised his contribution to landscape painting by painting ancient and modern landscapes, and the Record of Famous Paintings in Tang Dynasty was even rated as the wind-driven standard ... Wangchuan Villa painted by him has a gloomy valley and flowing clouds.
Su Shi commented on Wang Wei's poems: "Poems with charm have pictures; Look at the picture, there are poems in the picture. " So far, this evaluation has been affirmed by scholars. Wang Wei is famous for his five-character poems and quatrains. There are two styles in Wang Wei's poems. The poems in the early stage mostly reflect the reality, while those in the later stage mostly depict pastoral landscapes. Wang Wei is also good at pastoral poetry. This is Wang Youcheng. Notes on Wang Youcheng's Collection was compiled by Zhao Diancheng in Qing Dynasty.
The year of birth and death is unknown, also known as Zhou, whose real name is Zhong Lang. Jing Zhao (now Xi 'an, Shaanxi) was born. Tang Dynasty painter.
He comes from an official family, so his paintings naturally have an aristocratic style. Zengguan to Xuanzhou has a long history. He was good at figure painting and inherited the beautiful legacy of Gu Kaizhi and Lu Tanwei in the Six Dynasties. His painting style is "simple clothes, soft colors and rich body." Zhu Zeng, a painting theorist at the end of the Tang Dynasty, once said: "Zhou Fang's paintings, such as Buddha statues, true immortals, figures and ladies, are all gods."
Handed down from ancient times, there is a picture of beautiful women.
Natalie, born in Jingzhao (now Xi, Shaanxi Province), was a court painter in the Tang Dynasty. His date of birth and death is unknown. His artistic creation activities were mainly concentrated in the years of Kaiyuan and Tianbao in the Tang Dynasty (7 13-755). Zhang Xuan was enshrined in the palace, and he was appointed as a painter of Jixian Academy. He is famous for painting famous ladies and court pommel horses, and is as famous as the later female painter Zhou Fang. None of his works have survived to this day. There are two important manuscripts left in history: one is copied You Chuntu, the wife of Guo, and the other is The Map of Tao Ren.
The theme of Zhang Xuan's painting is the activities of the characters in the court. Although his figure painting is limited to the court, it shows a huge scene, which urges him to master the modelling technique and performance skills of various painting themes. Natalie fundamentally established the important position of lady painting in figure painting with her exquisite painting skills. Ladies' paintings mostly depict the court life scenes of aristocratic women, ladies-in-waiting or other women. The images of ladies in Zhang Xuan's paintings are similar to those in Zhou Fang's works: women usually wear heavy makeup, meticulous brushwork and even use colors. Zhang Xuan's painting of ladies has a far-reaching influence in the history of figure painting.
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Zhang Wei (? -? ), it is Zhang Zao, the word Wentong. Wu Jun (now Suzhou City, Jiangsu Province) was born. Tang Dynasty painter.
Guan Zhizu Yuan Wailang, Judge of Salt and Iron. During the Anshi Rebellion, he was taken in by An Lushan. After the Anshi Rebellion was settled, it was demoted to Hengzhou Sima and Zhongzhou Sima. Zhang Yanyuan wrote in Volume I of Famous Paintings of Past Dynasties: "The change of landscape began in Wu and became in Erli, like a tree and a stone, better than Wei Yan and poorer than." In the Tang Dynasty, it was said that Zhang Yun painted landscapes, sat with 24 guests and stood around to watch. "The members sat in the middle of the basket and cheered, and the magical machine originated." And scary. If the shock is empty, it will make you cry. Destroy the trap, fake huo glance at the column, fly ink spray, grab the paws like a crack, wander intermittently, and suddenly look strange. Finally, there will be pine forests, ancient peaks and water clouds. I'll take care of them. If the thunderstorm is sunny, I can see the feelings of all things, and I can see the skill of stretching my bow, which is not painting, but also true. "When Zhang Xuan painted carelessly, there were two tubes in his hand, one was a living branch and the other was a dead branch", which is the origin of the idiom "one tube and two tubes". There are handed down Turquoise Map, Cold Forest Map, Pine Bamboo and Monk Map.
1 1 Zhang yanyuan, whose name is Ai Bin. In the Tang Dynasty, the Yi family in Zhou Pu (now Linyi County) was born.
Great-grandfather Zhang was the prime minister of Xuanzong, great-grandfather Zhang was the prime minister, and grandfather Zhang Hongjing was the prime minister of Xianzong, so it was called "three-phase Zhang". Father Zhang Wengui, don't worry about Mo Miao. Yan Yuan is knowledgeable, good at painting and appreciating [1]. Emperor Xuanzong of the Tang Dynasty called his tomb "both books and books, as well as refined and knowledgeable." "It is a secret house to gather calligraphy and painting at home." [2], Li Chuo wrote "Old History", calling his hometown "Three-phase Gate, rich in products". Li Guan's left servant shot to fill the vacancy, and the ancestral department was the foreign minister. He moved to Zhou Shu to be a secretariat, and the official position was Dali Qing [3]. Try to write Continuation of the Tang Calendar from Cui Guicong and Li Xun. He wrote a lot, especially in calligraphy, and made good use of official scripts, such as "The Seal of Three Ancestors" and "Mountain Poems". He is the author of ten volumes of Hokkekyo, ten volumes of Records of Famous Paintings in Past Dynasties, and the map of hunting essence. There is a biography of Zhang Yanyuan in Xuanhe Huapu.
Song Dynasty: Many famous painters appeared in Song Dynasty, including Fan Kuan, Guo, Zhou, Zhou, Xia Gui and Zhang Zeduan. What best represents the highest artistic level of Chinese painting is the broadness and artistic conception of landscape painting in Song Dynasty! There were many talented landscape painters in Song Dynasty, each with his own expertise and creation. Lin Yuan in the Northern Song Dynasty, Fan Kuan's Mountains and Snow Scenery, Xu Daoning's Trees and Waters, Guo's description of the subtle changes of the four seasons, Zhao Lingxiang's Lyrical Scenery, Mi Fei and Mi Youren's Yunshan Ink Painting, and Xia Gui's Landscape all reflect the art of landscape.
Yuan dynasty: Zhenwu
Zhenwu (1280- 1354), whose name is Gui Zhong, is a plum blossom Taoist. Taste himself as Taoist Mei, also known as the tomb of the plum blossom monk. Jiaxing, Zhejiang, a learned and aloof person, lives in seclusion in the countryside and sells hexagrams in Hangzhou for a living. The style of poetry is simple and wonderful. Each painting is often titled poetry, and poetry, books and paintings set each other off into interest, and the number of hours is "three musts". Good use of ink, dripping picturesque, is the crown of Yuan people. Part-time ink flower, but also photo. His works include poetry and calligraphy, and he is good at painting landscapes, plum blossoms and bamboo stones. Garden teachers Dong Yuan and Ju Ran have their own deep and gloomy spirit. His painting style has a great influence on the development of landscape painting in Ming and Qing Dynasties.
Wang Meng
Wang Meng (1308- 1385), a native of Huzhou, is Huang Heshan Qiao. Born in the late Yuan Dynasty and early Ming Dynasty, he served as the magistrate of Tai 'an in the early Ming Dynasty. Later, he was involved in prison and died. He studied painting with his grandfather since childhood, and became more involved with Huang and Ni Zan when he grew up. Wang mengneng's poems and calligraphy. Especially good at painting landscapes, he got the method of Zhao Mengfu, the ancestor of Dong Yuan and Ju Ran. The scenery is dense, the layout is full of mountains and rivers, and it makes good use of understanding the thirst and thirst, showing the lush and boundless atmosphere of the forest. Beyond mountains and rivers, you can also be a man. It has a great influence on landscape painting in Ming and Qing Dynasties.
yellow
Huang (1269- 1354), a native of Changshu, worked as a small official when he was young, and was involved in prison because of other people's business. After he was released from prison, he changed his name to "Yifeng", became a Taoist priest and began to paint. After 50 years old, he lived in seclusion in Hangzhou and devoted himself to landscape painting. Huang was taught by his uncle and integrated the strengths of everyone in the Song Dynasty. In his later years, he went deep into natural observation and understanding, and formed his own artistic style of "being clear in spirit and healthy in spirit, being weak in bones and full of spirit". His masterpiece Fuchun Shan Jutu took seven years to complete, with a height of 33 cm and a horizontal length of 396.6 cm. Collect the essence of hundreds of miles on both sides of Fuchun River in his pen. The painter uses both the center and the flank, the sharp pen is bald, the long and short dry pen is wiped, and the wet pen is covered with hemp.
Ni Zan
Ni Zan (130l- 1374), a native of Zizhen, also known as Xuan Ying, alias Jing Manmin, is a layman with a net name, and owns Zhuyangge, Canglang Manshi, Ququancuo and Haiyue Jushi. , once signed Donghai Ni Zan, Lazy Zan, and renamed Xi Xuan Lang. In the fifth year of Yuan Dade (130 1), Ni Zan was born in Meilituo Village, Wuxi City. Influenced and educated by such a family, he has developed an unusual attitude towards life, lofty and detached, totally abstaining from politics and immersed himself in poetry and painting, which is quite different from the Confucian ideal of the world. So, at the end of my life. The painting style is simple, the style is naive and quiet, and it wins with indifference. Most of his works draw mountains and rivers around Taihu Lake, and the composition takes plain scenery. He is good at drawing dead trees and bamboo and stone huts, and the scenery is extremely simple. Most of his paintings are polished with dry pen, and the pen and ink are extremely simple. The so-called "intentional or unintentional, if it is light, if it is sparse", it has formed a desolate depression. Among the four schools in Yuan Dynasty, Ni Zan enjoyed a high reputation in the minds of literati.
Calligraphers in Tang, Song and Yuan Dynasties
Tang dynasty:
Yan Zhenqing
Please refer to:
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Yan Zhenqing, (709-785), a native of Wanzhao, Jingzhao, was born in Linyi (now Linyi, Shandong) in the Tang Dynasty. Kaiyuan Jinshi An Shi Rebellion, who made meritorious service in resisting thieves, entered Beijing as an official, prince and founder of the county, so it was also called Yan. When Li Xilie rebelled in Dezong, he put the country first and went to the enemy camp to know what was right. He was finally killed by Li Xilie at the age of 77.
In the history of calligraphy, he is the most accomplished and influential calligrapher after the two kings. His book was a beginner in Zhang Xu, and there were four schools in the early Tang Dynasty. After that, many scholars were widely gathered to change the past into the law, forming a solemn, square and simple "face style".
When Yan Zhenqing was young, his family was poor and lacked paper and pens, so he used a pen to brush loess water to practice calligraphy on the wall. Chu Suiliang, a beginner, studied under Zhang Xu and four masters in the early Tang Dynasty. He not only accepted the seal script, but also accepted the writing style of the Northern Wei Dynasty, which made him unique. Contrary to the writing style of the early Tang Dynasty, he changed from thin and hard to full and vigorous, with great momentum. He is called "Yan Ti". Yan Ti has established his immortal status of regular script for thousands of years, and Yan Zhenqing is one of the influential calligraphy masters in the history of China calligraphy. His Yan Ti, together with Liu Gongquan, is called "Yan Liu" and has the reputation of "Yan Gu".
Liu Gongquan (778 -865), whose real name was Cheng Xuan, was a Jingzhao Chinese in the Tang Dynasty. He is a prince's official and is called "Liu" in the world. Because he was also named Duke of Hedong by the emperor, later generations also called him "Liu Hedong". He is a descendant of Yan Zhenqing, and later called them "Yan Liu", which became a model of calligraphy in past dynasties.
Characteristics of works
Liu Gongquan's calligraphy was very famous at that time in the Tang Dynasty, and there was a saying among the people that "Liu Zi is a thousand dollars". His calligraphy is vigorous and vigorous, and his words are rigorous and meticulous. As far as the characteristics of Chinese characters are concerned, they are famous for their thinness and strength. The regular script written is beautiful and strong, and the running script and regular script are the most exquisite. Liu Gongquan's calligraphy is called "Liu Style" because of its unique works.
Ou Yangxun (557-64 1) was born in Linxiang, Tanzhou (now Changsha, Hunan). His calligraphy achievements are based on regular script, with bold brushwork and unique structure, which is called "European style" by later generations. Originally from Han Li, he was vigorous and rigorous in statutes. He sees risks in plain sight, with elegant composition, interspersed strokes and proper arrangement. Regular script is the Ming Dynasty of Liquan in Jiucheng Palace, and the most famous running scripts are Meng Diantie and Hans Zhang Tie. There are many other styles. Zhang Tang said in "Broken Books and Huaiguan":
Huai Su
Huai Su (737 ~ 799)
China calligrapher of Tang Dynasty. The common surname is money, but this word hides the truth. Yongzhou Lingling (now Yongzhou, Hunan) people. Becoming a monk since childhood. Good at cursive writing, good at drinking, and writing books every time he gets drunk, so he is called a drunken monk. Its cursive brushwork is fine and round, flying naturally, and its statutes are complete. It is said that when he wrote a book, he "suddenly screamed three or five times and there were thousands of words on the wall." Together with the cursive master Zhang Xu at that time, it was called Dianzhangkuangcao. Today, there are ink self-narration posts, hidden truth posts, bitter bamboo shoots posts, book posts, fish eating posts, French posts, grass thousand-character texts and so on.
Chu Suiliang (596 ~ 658)
Minister and calligrapher in the early Tang Dynasty. Originally from Yangzhai, Henan (now Yuxian, Henan), he moved south to Qiantang, Hangzhou (now west of Hangzhou, Zhejiang) in the late Jin Dynasty.
Chu Suiliang, Ou Yangxun, Yu Shinan and Xue Qi were four great calligraphers in the early Tang Dynasty. His calligraphy works handed down from generation to generation include Preface to Tang Sanzang, Biography of Yique Buddhist Shrine, Monument to Master Meng, Square Monument, and Preface to the Wild Goose Pagoda. , ink for Ni Kuanzan.
Xu Zhang
Zhang Xu (date of birth and death unknown), a native of Suzhou, is a commandant of Changshu County. Great calligrapher of Tang Dynasty. It is famous for cursive writing. Tang Wenzong once issued a rare imperial edict to the whole country: Li Bai's poems and songs, Zhang Xu's cursive script and Fei Min's sword dance can become the "three wonders" in the world.
Zhang Xu's calligraphy began with Zhangzhi and Erwang, with cursive script as the highest achievement. He himself is proud of inheriting the tradition of "two kings" and writes very well. On the other hand, he imitated Zhang Zhi's cursive art and created an unpredictable wild grass, which shocked the world. According to legend, he saw the princess arguing with her husband, and he heard the advocacy and got the meaning of brushwork; When I was in Yexian County, Henan Province, I loved watching Gong Sundaniang dance the sword of Xihe River, so I got the grass god. Yan Zhenqing resigned twice and asked him for his brushwork. Zhang Xu is a pure artist. He pours his emotions into stippling, and no one looks at it, and he is as intoxicated as a madman.
Song dynasty:
Su Shi
Su Shi (1037 ~11year), a famous writer, painter and calligrapher in the Song Dynasty, was named "Dongpo Jushi" and was born in Meishan, Meizhou (now Meizhou, Sichuan). He, his father, Su Xun, and his younger brother, Su Zhe, are both famous literary figures, and they are called "Three Sus" in the world. It is the same as "Cao San and his son" (Cao Cao, Cao Pi, Cao Zhi) at the end of Han Dynasty.
Su Shi is also good at regular script, and he is also called "Song Sijia" with Huang Tingjian, Mi Fei and Cai Xiang. Zeng studied under the famous artists of Jin, Tang and Five Dynasties, and worshipped Wang Sengqian, Li Yong, Xu Hao, Yan Zhenqing and Yang Ningshi, and became a family of his own. Ziyun: "I can't have published a book"; There is another cloud: "Be innovative and don't practice the ancients." Huang Tingjian said: "In his early years, his pen was refined, not as natural as his boss"; Another cloud said, "When I arrived in Huangzhou, my pen was very strong." In his later years, he was influenced by overseas storms. In addition, his knowledge, mind and knowledge are outstanding everywhere, and his life has been ups and downs. His calligraphy style is rich and naive. You can imagine that he is a person by looking at his calligraphy. People and books respect each other. At that time, his brothers, sons and nephews, You, Mai and Guo, as well as his friends and Zhao Lingzhi studied under him. Later, famous historical figures such as Li Gang, Han Shizhong, Lu You, Wu Kuan and Zhang Zhidong also learned from him in the Qing Dynasty, which shows the great influence. Huang Tingjian said in Valley Collection: "Those who are good at books in this dynasty should take (Su) as the first."
Mi Fu
Mi Fei (1051—1107), with a personal seal, numbered Xiangyang Manchu, Lumen layman, overseas history of sea prison, etc. According to the History of Song Dynasty and related records, Mi Fei was "called as a doctor of calligraphy and painting, and endowed with a convenient hall ... and a foreign minister of the Ministry of Rites". However, it is difficult to follow the official number because it "can't share the same festival with the world." Thus, Mi Fei is not proud in officialdom.
Mi Fei has extraordinary talent in calligraphy and painting, and is called "the four great masters of Song Dynasty" with Su Shi, Huang Tingjian, Bicai and the history of calligraphy. His book is "Flying Easy, and Wang Xianzhi's brushwork"; Su Shi praised that "the wind and horses are irrelevant and should go hand in hand with Zhong Wang"; Huang Tingjian praised "like a sword, it has the potential to shoot with a strong crossbow ... the calligrapher's pen posture is also poor here". His paintings are "landscape figures, claiming to be a family" and creating "Mijia Yunshan", which is praised by history. It seems that Mi Fei is a master of painting and calligraphy who respects tradition and does not fall into the conventional pattern.
Huang Tingjian (1045- 1 105), whose real name is Lu Zhi, a Taoist in the valley, was later named Fu Weng. A native of Fenning, Hongzhou (now Xiushui, Jiangxi). Poet and calligrapher of the Northern Song Dynasty, he was a scholar in the fourth year of Zhiping (1067). He was once an official of Ye Xianwei, a professor, proofreader, book assistant, secretary Cheng, a driver in Fuzhou and a resident in Guizhou. Shao Shengchu was demoted because of the inaccuracy of the book Feng Shen Lu. Later, the new party came to power and was demoted repeatedly. He died and was banished to Yizhou.
Huang Tingjian is one of the "Four Bachelor of Su Men". His poems are as famous as Su Shi's and are called "Su Huang". He is good at writing, poetry and calligraphy. The poetic style is strange, thin and hard, and the habit of light vulgarity is strongly abandoned. Advocate a generation of ethos and be the originator of Jiangxi poetry school. Exquisite calligraphy, and Su, Mi and Cai are also called "". Ci is as famous as Qin Guan, but its artistic achievements are not as good as Qin Guan. In his later years, he had a close relationship with Su Shi, with a sparse style of words, deep feelings, bold and elegant, and sometimes brilliant. There is "Valley Ci", also known as "Valley Qin Interesting Chapter". The main ink marks are Song Fengge Poetry, Hua Yanshu, Jingfubo Temple, Duxi, Li Bai's Nostalgia for Ancient Poems and Kuzhun Fu. The theory of this book includes On Jin and On Shu. There are 46 lines of poems, running script, ink and paper in Jingfubo Temple, each line has different words, * * * 477 words. A survey of calligraphy and painting in He Qing Square and its style ancient halls. The first traces are now in Japan. This poem post, dozens of lines, is easy to write, exquisite in brushwork, magnificent and stretching. Fan Chengda commented that "the calligraphy of the valley in his later years is great, so there is no resentment in the post, and the heart and hand are one, and the pen and ink are as desired." This post is a sober and thoughtful work, which has the characteristics of Huang Tingjian's calligraphy art and is the representative work of Huang Tingjian in his later years.
Cai Xiang (10 12- 1067) was born in Xinghua, Mo Jun (now Xianyou, Fujian). Tiansheng was a scholar in the eighth year (1030), and successively served as a collator of Guan Ge, a remonstrator, a history museum, a patent for intellectuals, a bachelor of Longtuge, a bachelor of Privy Council, a bachelor of Hanlin, a third secretary, and a bachelor of Central Duanming Hall in Song Dynasty. I also worked as a transshipment ambassador on Fujian Road (now Fuzhou, Fujian) and learned about Quanzhou, Fuzhou and Fujian. The pawn gave "loyalty" to the assistant minister of does. Cai Xiang is honest, trustworthy and knowledgeable. In the history of calligraphy, four great calligraphers, Su, Huang, Mi and Cai, are typical representatives of the calligraphy style in Song Dynasty. Among the "Song Sijia", the top three are Su Shi (Dongpo), Huang Tingjian (Fu Weng) and Mi Fei (Xiangyang Manshi). In China, Cai Xiang should be older than Su, Huang and Mi.
Yuan Dynasty: Zhao Mengfu (1254- 1322), a native of Huzhou, Zhejiang Province, was one of the most outstanding painters and painters in Yuan Dynasty, and had a wide influence in the history of painting and calligraphy in China.
Xianzai pivot, the word "Ji Bo", the number of trapped mountain people, also known as Tiger Forest Tibetan officials, direct mail to the elderly and so on. Dr Guan Taichang, a native of Yuyang (now Beijing), Hebei Province, now lives in Hangzhou. Ji Bo is famous for his book title, especially for cursive writing. He is an accomplished calligrapher.
Tang Poetry, Song Poetry, Yuanqu and Ming and Qing Novels
Tang poetry (Li Bai) is the representative work (Thinking on a Quiet Night), Song poetry (Li Qingzhao) (Huanxisha), and Song Yuan is the representative work (Ma Zhiyuan) (Qiu Si).
Ming and Qing novels Romance of the Three Kingdoms, The Water Margin, The Journey to the West, A Dream of Red Mansions, The Scholars and Ghost Fox novel Strange Tales from a Lonely Studio.