Literati Paintings by Famous Artists of All Ages

Literati paintings pay attention to poetic feelings and picturesque, "painting with poetry, poetry with painting" is the unanimous pursuit of literati paintings, paintings are often inscribed with poems, poems and paintings are combined. Literati painting is a painting with literati sentiment in the painting and literati thoughts outside the painting. It does not stand alongside the three disciplines of Chinese painting: landscape, birds and flowers, and figures. Zheng Banqiao explained literati painting by saying that "instead of examining the artistic efforts in the painting, one must see many literati's thoughts outside the painting". In this way, the so-called literati painting or the so-called literati painting, in the traditional painting, it is unique "elegant" and artisan painting and courtyard painting, unique.

The important style of traditional Chinese painting. In the creation of the emphasis on individuality and the combination of poetry, calligraphy, painting and other arts, the authors are mostly literati with a deeper, more comprehensive cultural cultivation. The term "literati painting" was first proposed by Dong Qichang of the Ming Dynasty, who made a preliminary explanation of its historical relationship: "Literati painting began with Wang Yuancheng, followed by Dong Yuan, Ju Ran, Li Cheng, and Fan Kuan, who were the first sons of Wang Jinqing, Mi Nangong, and Fan Kuan. Wang Jinqing, Mi Nangong and Hu'er, all from Dong, Ju, until the Yuan four Huang Gongwang, Wang Meng, Ni Zan, Wu Zhonggui, all of its proper transmission. Our dynasty Wen, Shen, and far from the mantle."　The formation and development of literati painting is a cultural phenomenon contributed by a variety of factors in Chinese feudal society, which has a fairly long evolutionary process. As early as in the two Jin dynasties, some painters in the creation of certain creative ideas and artistic pursuits, such as Wang Wei's "painting is my self-painting" idea, Zong Bing's "free of God", Wang Wei's emphasis on the emotional component of the creation of the Gu Kaizhi's "Form and Spirit". Wang Wei's emphasis on the emotional component of creation, as well as Gu Kaizhi's theory of "form and spirit" and so on, should be regarded as the origin of literati painting.

During the Tang Dynasty, after Wang Wei's seclusion in Rim River, ink painting, which embodied his artistic concepts and aesthetic interests, took on a more distinctive character of literati painting. In the Five Dynasties, Dong Yuan and Ju Ran pursued a simple and na?ve approach to landscape painting, which in turn provided direct artistic norms for the development of literati painting. In the Northern Song Dynasty, Wen Tong, Su Shi, Mi Fu and others widely opened their eyes for literati painting in creative practice and theoretical criticism, and their influence made literati painting become an influential artistic trend, which began to be separated from courtyard painting and painter's painting.

But the heyday of literati painting was in the Yuan Dynasty, when many literati and scholars cultivated an aversion to and escape from the world, and used painting as a means of personal spiritual self-regulation. In this process, Zhao Mengfu and Ke Jiusi emphasized the use of books in painting, Qian Xuan put forward the idea of "morale," Ni Zan advocated the idea of "self-indulgence," and many more painters took the symbolic plum, orchid, bamboo, and chrysanthemums (historically known as the Four Gentlemen) as their means of expression. More painters took the symbolic plum, orchid, bamboo, and chrysanthemum (known as the "Four Gentlemen") as their subject matter for their own expression, in order to publicize their personal ambition and sentiment. In this way, the subjective consciousness of painters was further strengthened, and the artistic concepts and aesthetic ideals of the literati were more prominently expressed in their creations. Extended to the Ming Dynasty, literati painting has risen to a dominant position in the painting world, and directly influenced the basic pattern and aesthetic orientation of Qing Dynasty painting, forming a unique painting system with national characteristics. Zhu Da, Shi Tao and the Eight Monsters of Yangzhou broke through the hedge of the Four Kings and created a new situation. Literati painting is a kind of comprehensive art, integrating literature, calligraphy, painting and seal-carving art, and it is a concentrated expression of the painter's multifaceted cultural qualities, especially the closer relationship with calligraphy. The combination of dots, lines and strokes in calligraphy is not only the basic element of artistic image, but also an important object of appreciation with independent aesthetic value. Brush strokes of the speed of Xu light weight, point and line of the sparse thick and thin formed by the unique rhythm and rhythm, to reflect the painter's creative process of the unique mentality, temperament and personality, and will be these and the expression of the things of the form of God organically combined, to achieve the heart and hand should be in line with the gas and power, although the trace is broken and gas even, the pen is not a week, but the intention of the week.

The formation of the characteristics and system of literati painting, and the literati will be regarded as a means of spiritual regulation of painting, the creation of these painters, but to play a role in the spiritual ShuLuo, so that not for the things, not be law constraints, with the simplest tools (pen, ink, paper), the most generalized language (black, white, gray color), to convey the most profound feelings, has become the inevitable creation of the choice.

Based on the above characteristics, literati paintings have a tendency to converge in the selection of subjects, i.e., landscapes, birds and flowers, especially plums, orchids, bamboo and chrysanthemums, etc., have become the traditional subjects of expression. Relatively speaking, the subject matter is relatively narrow, in order to overcome this limitation, the title plays an important role in deepening the theme and enriching the meaning in the creation. The same subject matter, through the inscription with different meanings, can reveal the different creative intentions and artistic pursuits of each painter (or different works of the same painter). Representatives of literati painting include: Wei, Jin, North and South Dynasties: Gu Kaizhi, Zhang Shengqiao

Sui-Tang and Five Dynasties: Wu Daozi, Yan Liben, Wang Wei, Li Si Xun, Jing Hao, Guan Tong, Dong Yuan, Ju Ran, Zhang Xuan, Zhou Fang, Huang Tsuen, Xu Xie, Han Gan, Xue JI

North Song Dynasty: Su Shi, Li Cheng, Fan Kuan, Li Gonglin, Mi Fu, Guo Xi, Zhao Ji, Zhang Zeduan, Li Song, Wang Ximeng, Wentong, Wu Yuan Yu, Cui Bai, Yi Yuan Ji, Zhao Chang, Cui Bai, and Yi Yuan Ji. Yi Yuanji, Zhao Chang, Wang Xinjian

Southern Song Dynasty: Li Tang, Liu Songnian, Ma Yuan, Xia Gui, Lu Tanwei, Wu Bing, Zhao Boju, Chen Rong, Lin Chun, Mi Youren, Liang Kai

Yuan Dynasty: Huang Gongwang, Ni Zan, Wang Meng, Wu Zhen, Zhao Mengfu, Xia Yong, Zhao Yong, Wang Yuan, Wang Coronet, Ren Renfa, Ke Jiusi, Fang Congyi, Gu An, Yan Hui, Liu Guandao

Ming Dynasty: Dai Jin, Wang Sash, Zhou Chen, Shang Xi, Lu Ji, Lin Liang, Shen Zhou, Wen Zhengming, Tang Yin, Qiu Ying, Zhang Hong, Chen Chun, Xu Wei, Wu Bin, Wu Wei, Cui Zizhong, Basketball Ying, Xiang Shengmu, Chen Hongshou, Chen Gua, Ding Yunpeng, Zeng Jings

Qing Dynasty: Bada Shanren, Shitao, Wang Shimin, Zou Che, Wang Jian, Wang Jian, Wang Album, Gong Xian, Kun Ru, Wang Yuanqi, Wu Lixi, Hong Ren, Yun Shouping, Fan Qi, Xiesun, Hu Jie, Zheng Banqiao The artist is also known to have been an artist in his own right, but he is also known to have been an artist in his own right, as well as a painter in his own right, as well as a painter in his own right, as well as a painter in his own right, as well as a painter in his own right, as well as a painter in his own right, as well as a painter in his own right.