What is called courtyard painting in Chinese painting, what is called literati painting

Abbreviated as "courtyard style", "courtyard painting", a kind of Chinese painting. Generally refers to the Song Dynasty Hanlin Painting Academy and the Palace Painter after the comparative work all the way to the painting. There are also specifically refers to the works of the Southern Song Painting Academy, or general refers to non-court painters and follow the style of the Southern Song Painting Academy. These works cater to the needs of the imperial court, mostly birds and flowers, landscapes, court life and religious content as the subject matter, the paintings pay attention to the law, the importance of both form and spirit, the style is gorgeous and delicate. Because of the different times and painters are good at different, so the painting style is not the same and each has its own characteristics. Lu Xun said: "Song's courtyard painting, atrocious soft and charming when the place to give up, meticulous and meticulous place is desirable." ("and jieting miscellaneous essays - on the" old form of adoption ")

China's Tang Dynasty has set up Xuzhao, worship and so on. In the Five Dynasties, Western Sichuan and Southern Tang set up painting academies. The Song Dynasty set Hanlin Painting Academy, selected outstanding painters, for the royal court. Painting Academy of successive generations painted landscapes, birds and flowers, figures, etc., most of the requirements of the brush without color, the whole detailed, opulent, rigorous composition, brilliant colors, some have a strong decorative, known as the courtyard style paintings.

Literati painting, also known as "scholar painting". A kind of Chinese painting. Generally refers to the Chinese people in feudal society, the scholar made the painting. Unlike the paintings of folk painters and professional painters of the palace academy, Su Shi of the Northern Song Dynasty proposed "scholar's painting", and Dong Qichang of the Ming Dynasty referred to "literati painting", taking Wang Wei of the Tang Dynasty as its founder and eyeing it as the ancestor of the Southern Sect (see "Northern and Southern Sect"). The name of the artist was also used to refer to Wang Wei of the Tang Dynasty as the founder of the art.) However, in the olden days, they often used this as an excuse to elevate the painting art of the scholarly class, and to despise the folk painters and courtyard painters. Zhang Yanyuan in the Tang dynasty in the "record of famous paintings through the ages" once said: "Since ancient times, good painting, no one is not a noble man in clothes, the high and mighty, not the village of the people can be." This has a long influence. Modern Chen Hengke that "literati painting has four elements: character, learning, talent and thought, with these four, can be perfect." Usually "literati paintings" are mostly taken from landscape, birds and flowers, plums, orchids, bamboo and chrysanthemums, and wood and stone, etc., in order to express the "spirit" or personal ambitions, and also contain the national oppression or resentment of the corrupt politics. They advocated "morale" and "elegance", revered the character of the algae, and sought the interest of ink and brushwork, skimmed the resemblance, emphasized the charm, and attached great importance to the cultivation of literature, calligraphy, and the creation of the mood in the paintings. Yao Mangfu's "Study of Chinese Literati Painting - Preface" had a very high praise: "Tang Wang Yuancheng (Wei) invoked poetry into the painting, and then the fun from the pen, the law at will, the words do not have to be Gongshang and Qiu Shan all rhyme, and the meaning does not have to be Bixing and the grass and trees into a chant." Throughout the ages, literati painting has had a considerable impact on the aesthetic thinking of Chinese painting and the development of ink and writing techniques.

Literati painting is a painting with literati sentiment in the painting and literati thought outside the painting. It is not juxtaposed with the three disciplines of Chinese painting: landscape, birds and flowers, and figures, nor does it distinguish itself from work and writing in terms of technique. He is the intersection of landscape, bird and flower, and figure in the broad scope of Chinese painting. Chen Hengke explained literati painting, "not in the painting to study the art of effort, must be seen outside the painting of many literati feeling". This, the so-called literati painting or the so-called literati painting, "know the painting of the object. It is also the spirit, the thought, the activity, not the instrument, not the mere thing". This explains the literary, philosophical and lyrical nature of literati painting. In traditional painting, its unique "elegance" distinguishes it from artisanal and institutional painting and makes it unique.

Historical Development

The origin of literati painting can be traced back to the Han Dynasty, when Zhang Heng and Cai Yong were famous for their paintings. Although the paintings were not handed down to the world, they were recorded in the canonical books. During the Wei Jin and North and South Dynasties, Yao most "do not learn to be a man, just to entertain themselves" became the center of the literati painting. It became the central theme of literati painting, which was honored as the purpose of painting by all generations of literati. Zong Bing's "clear mind to view the Tao, lying down to swim" to the landscape to make his mind clear. Fully embodies the mentality of literati self-indulgence. Poetry was prevalent in the Tang Dynasty, and the great poet Wang Wei used poetry to paint. Later generations regarded him as the originator of literati painting. His paintings became the model for later literati painters. Poetry in painting, painting in poetry. It has become a trend that has been passed down from generation to generation.

During the Northern and Southern Song dynasties, there were many great literati, such as Su Shi, Huang Tingjian, and Mi Fu's father and son, who practiced and developed their ink and wash techniques based on Wang Wei's school of literati painting, which was based on calligraphy into painting. Deng Chun's theory of "Painting is the ultimate of literature" has tightly combined "literature" and "painting", and is a systematic theory of literati painting, which has had a profound influence on the development of literati painting in the future. This was a systematic theory of literati painting, which had a far-reaching influence on the later development of literati painting. At this time, Su Shi put forward the concept of "scholar painting" to make the literati painting to a more mature step forward.

In the Yuan Dynasty, literati painting entered a period of prosperity. The Yuan rulers favored the military over the literati, which led to more literati painting. The most famous literati painters were Huang Gongwang, Wang Meng, Ni Zan and Wu Zhen. They were known as the "Four Families of Yuan". Their paintings mostly showed "seclusion", "high seclusion", "small seclusion", "fishing seclusion", with the attitude of "out of the world to become immortal" to express a kind of loneliness of the scholarly class, empty feelings. Art advocates "elegance", "bland and naive", "naive and faint", theoretically advocates "easy brushwork", "do not want to look like", "chat writing in the chest," and so on. This period of poetry and seal letter also gradually formalized into the picture. Not only become part of the layout. And more directly express the author's voice. Poetry, calligraphy, painting, printing began to become one, poetry and painting are linked, poetry is intangible painting, painting is a tangible poem, poetry through the painting complement each other, which also marks the perfection of this form of literati painting.

In the early Ming Dynasty, literati painting was in a period of inheritance and development, the emergence of the "Wu School" and "Zhejiang School", Shen Zhou, Wen Zhengming, Dai Jin, etc. is an important representative of this period. Until the middle and late Ming Dynasty, Dong Qichang, who was a theorist and painter, based on Su Shi's theory of "Scholar's Painting", further put forward the theories of painting in the north and south and literati painting, and the name of literati painting was formally put forward and used. At the same time, the status of literati painting as the South Sect has been established and even become the highest understanding of the concept of Chinese painting.

In the Qing Dynasty, when literati painting was at its peak, many top literati painters emerged, the most prominent being the Four Monks, and among the Four Monks, Bada Shanren and Shitao were the most prominent. Being a remnant of the late Ming Dynasty, they sent in painting and calligraphy the pain of the country's destruction, Bada brushwork wanton, indulgent, concise, condensed, exaggerated shape, the mood of cold and silent. Shih Tao endeavored to observe nature, despised the painters who were always in the same boat, advocated that "ink and brushwork should follow the times", "the law should be self-established", and "searched for strange peaks and made drafts" in the face of life. His ideas on the later generation of "Yangzhou School of Painting", "Yangzhou Eight Monsters", Xugu, Zhao Zhiqian, Ren Bonian, Wu Changshuo and so on have played a profound influence.

Artistic Characteristics

The subjects of literati paintings are mostly plum, orchid, bamboo, chrysanthemum, mountain, fisherman and hermit, and so on, and the literati used to depict the natural scenery as far as they could see to write their feelings. Their eyes of the plum, orchids, bamboo, chrysanthemums, mountains, fishermen and hermits, is no longer purely natural scenery but the embodiment of the gentleman. Plum, cold fight snow, jade bone ice muscle, lonely and self-appreciation; orchid, elegant fragrance, grass self-pity, self-cleansing; bamboo, false heart strong section, straight pole Lingyun, high winds and bright; chrysanthemum frost and glory, lonely and proud bone; landscape, fishing hermit is not to ask about the world, indifferent to fame and fortune. Through this, the literati express their inner or heroic or depressed mood. Expression of their own elegance, for public and private reasons, because the country because of the family. Tao Qian's "picking chrysanthemums under the East Fence, leisurely between the South Mountain"; Su Shi made straight bamboo, said "bamboo born when it was born by section"; Wu Zhen self-proclaimed Plum Blossom Taoist, the words of plum wives and cranes and end of the old age; Zheng Sishao for the loss of the country's lost soil for the root of the orchid ...... Although they are all Confucianism around and the comfort of Taoist thought, but there is no lack of literary romance.

Literati paintings emphasize the meaning. Du Fu said, "the intention of the craftsman in the miserable management" ingenuity, can be recalled. Ni said, "the painter is just a sketchy brush, do not want to look like, but to amuse themselves, write the chest of the gas". Literati paintings emphasize simplicity, nothing can be simple, even simple to "zero", "zero" is both white and empty." Counting white as black", empty, white is for "more", in order to "enough", in order to satisfy, blank can give a person endless far-reaching long feeling, like "at this time no sound is better than sound". Literati paintings heavy book, Zhang Yanyuan in the "record of famous paintings through the ages," said "the bones of the gas shape are all based on the intention and return to the pen, so those who can book are able to paint". Zhao Mengfu poems \\\\ "stone as white wood as pre-Han, write bamboo also need eight law through, if someone can also be this, know that the painting and calligraphy was originally the same". Ke Jiushi on painting bamboo "write bamboo pole with seal law, branches with grass calligraphy, write leaves with octet method or with Lugong skimming method, wood and stone with folding hairpin strands, house leak marks of the legacy of the idea". Literati paintings heavy ink interest, the use of ink dry and wet, thick and thick, pale and moist subtle changes in simple ink to summarize the splendor of nature.

These unique and strong subjective consciousness expressed in the paintings are the essence of literati painting.

Contemporary Literati Painters

There are many contemporary painters in China who are engaged in the creation of literati paintings and have made certain achievements, such as: Bian Pingshan, Zhu Xinjian, Wang Heping, Beifu, Yiran, Wang Weixin and so on.

Introduction of Contemporary Literati Painters

Huo Chunyang, born in Hebei in 1946, graduated from the Tianjin Academy of Fine Arts in 1969 and has been teaching there since then. He is now the director and professor of the Department of Chinese Painting at the Tianjin Academy of Fine Arts. He is now the director and professor of the Department of Chinese Painting at the Tianjin Academy of Fine Arts, curator of the Art Museum of Tianjin Academy of Fine Arts, member of the Chinese Artists Association, member of the Chinese Calligraphers Association, vice-chairman of the Tianjin Artists Association, external artist of the Tianjin Academy of Painting, consultant of the Tianjin Young Artists' Association, special artist of the People's Daily Divine Painting & Calligraphy Institute, special artist of the Xinhua Painting & Calligraphy Institute of the New China News Agency, special artist of the Painting & Calligraphy Institute of the China Central Television (CCTV) and supervisor of postgraduates. Huo Chunyang is devoted to the tradition of literati painting since the Yuan, Ming and Qing dynasties, and after a deep understanding of traditional Chinese culture and a careful appreciation of the beauty of nature, he has devoted himself to the pursuit of a quiet and ethereal artistic realm, with the aim of "purifying the human mind" as the purpose of his creation, and he is one of the most representative painters of traditional birds and flowers in the traditional style in China.

Bian Pingshan Profile:

Born in 1958 in Beijing, he graduated from the Department of Chinese Painting of the Central Academy of Fine Arts, the China Academy of Art, and the Chinese Painting Masters Seminar. He was the editor of Rongbaozhai Publishing House, editing more than a hundred art books, and won the first prize of National Excellent Editor. He now lives in Shanghai as a professional painter, and has published three collections of paintings by Bian Ping Shan, and more than twenty compilations.

Born in 1958 in Beijing.

1987 Participated in the Chinese New Literati Painting Exhibition in Nanjing and Fuzhou.

1988 Organized and initiated the Chinese New Literati Painting and its academic activities. In the same year, he participated in the "Ten People's Painting Exhibition" organized by Sichuan Academy of Fine Arts and the "Nine People's Painting Exhibition" organized by Tianjin Academy of Fine Arts.

1989 Participated in the "National Painting and Calligraphy Exhibition in Memory of Liu Zongyuan" organized by Duo Yunxuan Magazine of Shanghai Fine Arts Publishing House, and won the second prize.

1989 Participated in the "Chinese New Literati Painting Exhibition" and seminar organized by the National Art Museum of China and the China Academy of Art in Beijing.

1990 Participated in the "Chinese New Literati Painting Exhibition" and seminar organized by the Chinese Painting Research Institute and the Chinese Academy of Arts*** in Beijing. In the same year, he participated in the "Spring Exhibition of 1990" organized by the Chinese Painting Research Institute.

1991 Participated in the Shandong Exhibition of Chinese New Literati Paintings and seminars, and took part in the "Young Five" exhibition at the Museum of Contemporary Art in Beijing. In the same year, he took part in the "Bian Pingshan Painting Exhibition" held in Taipei, and published "Bian Pingshan Painting Collection".

1992 Participated in Gansu Exhibition of Chinese New Literati Painting. In the same year, he published "Five Chinese Young Painters".

1993 Participated in Chinese New Literati Painting Fuzhou Exhibition and seminar.

1994 Participated in Chinese New Literati Painting Exhibition in Nanjing. In the same year, he made illustrations for the book "Ten Chinese Poets".

1995 Participated in the Shanghai Exhibition of Chinese New Literati Paintings, the "Academic Exhibition of Chinese Paintings" of the China Academy of Art and won the Jingcheng Prize, the "Ninth National Exhibition of Bird and Flower Paintings" and the "National Invitational Exhibition of Landscape Paintings" organized by the Harbin Academy of Fine Arts. The Ninth National Flower and Bird Painting Exhibition" and "National Invitational Exhibition of Landscape Painting" organized by Harbin Academy of Fine Arts, "Beijing Four Artists Painting Exhibition" organized by Nanjing Art Institute, and Teaching Exhibition organized by Hebei Normal University. In the same year, he published a hardcover collection of paintings entitled "Chinese Ink Painters at the End of the Twentieth Century - Bian Pingshan's Paintings".

1996 Participated in the Hangzhou Exhibition of Chinese New Literati Paintings. In the same year, he resigned from the post of editor and lived in Shanghai, and signed a contract with the Shan Art Museum in Taiwan.

1997 Participated in the New Literati Paintings Beijing Exhibition, the Chinese Ink Painting Exhibition of the Century organized by the Ministry of Culture, the National Ink Painting Exhibition for Young and Middle-aged People held in Guangzhou, and the Hong Kong Return Painting Exhibition held in Shanghai in 1997. Hong Kong's return to China Exhibition" held in Shanghai. In the same year by the Rongbaozhai publishing house published "BianPingShan painting collection", CCTV recorded a special movie "the man of great elegance - painter BianPingShan".

1998 organization launched the "Chinese contemporary artists exhibition (first)" and seminar. In the same year, he participated in the international joint exhibition organized by Jiangsu Painting Magazine and Canada, the "Jiangnan Four Artists Exhibition" in Suzhou, and the Shanghai Art Fair.

1999 Participated in the Shanghai Art Fair and published his album "Tufts of hair".

2000 Participated in Shanghai Art Fair. In the same year, he participated in "Golden Pond - Bian Pingshan's Works Series Exhibition" held in Hangzhou and "Chinese Painting Masters Invitation Exhibition" held in Shijiazhuang, and published his personal collection of paintings "Golden Pond", "Bian Pingshan's Small Paintings" and "Golden Pond". He also published his personal collection of paintings, "Golden Pond", and "Bian Pingshan's Small Paintings".

In 2001, he participated in Shanghai Art Fair. In the same year, he participated in "Pujiang International Ink and Wash Academic Invitational Exhibition" organized by Zhejiang Art Association, "Bian Pingshan's Works Observation Exhibition" organized by Taizhou, Zhejiang, "Bian Pingshan's Works Exhibition" organized by Dongguan Yiquanshe, Guangzhou, and "Bian Pingshan's Works Exhibition" organized by Huzhou, Zhejiang. "

The 11th Exhibition of Chinese New Literati Painting held in Huzhou, Zhejiang Province.

2002 Participated in the Shanghai Art Fair and the International Ink Painting Invitation Exhibition organized by the Shanghai Art Museum. In the same year, he participated in the "Shanghai Sino-Japanese Calligraphy Joint Exhibition".

2003 Participated in "The Past and the Present - New Literati Context Exhibition" organized by Taiwan Guanxian Art, Shanghai Abstract Art Oil Painting Exhibition, Shanghai Spring Art Salon, Hangzhou "Sharp Ink" Exhibition and Hunan Painting Exhibition. "Exhibition organized by Hunan Painting Academy and "Chinese New Literati Painting Exhibition". In the same year, he participated in the "Golden Pond" series of exhibitions held in Hong Kong by Bian Ping Shan, and the Invitational Exhibition of Chinese Modern Art held in Florida, USA.

Wang Yong, alias convex Zhai, Ding Lou master. Born in March 1948 in Beijing, Shanxi Taiyuan. In 1979, he was admitted to the Central Academy of Fine Arts

Chinese Painting Department of Li Keran, Professor Liang Shunian postgraduate study of landscape painting and calligraphy and seal cutting, in 1981 in the postgraduate graduation exhibition won the Ye Shanyu

prize and stayed in the school to teach. He is currently a professor at the Central Academy of Fine Arts, Director of the Calligraphy Art Research Department, and Deputy Director of the Seal Engraving Art Committee of the Chinese Calligraphers Association

. His works have been exhibited and published at home and abroad, collected by many art galleries and museums, and published in several monographs. He is currently a professor at the Central Academy of Fine Arts, a member of the Chinese Artists Association, and vice president of the Oriental Art Exchange Society.

Zhu Xinjian, born in Nanjing in 1953, graduated from the Nanjing Art Institute in 1980 and stayed there to teach. He is now a member of the China Art Association and a professional painter, and in 1987, he designed the characters of the animated films "The Mouse Marries Her Daughter", "The Adventures of Jin Yuan Guo" and "Pipilu and Lucius" for the Shanghai Fine Arts Film Factory and the China Central Television (CCTV). His works have been shown in many solo exhibitions at home and abroad and participated in important exhibitions. He was awarded the silver medal of the Sixth National Art Exhibition.

He is the author of many collections of paintings, such as Brush and Ink with Heart, Hebei Education Press, 2000 edition; Ink and Ink Sketches, Opera Characters, Guangxi Fine Arts Publishing House, 2000 edition, and so on.

Yiran, whose real name is Cui Jian, was born in 1974 in Zibo, Shandong Province, now lives in Beijing, and is a professional painter. He is the disciple of the famous painter Mr. Bian Pingshan, the responsible editor of the large-scale art literature "30 Years of Chinese Art", and the responsible editor of the painting magazine "Art in China". He studied at the Fine Arts Department of Shandong Normal University and the First Advanced Training Course for Chinese Painters and Calligraphers at Beijing Rongbaozhai Painting Institute under the tutelage of Mr. Bian Pingshan, Mr. Hanchun, Mr. Shi Guoliang, Mr. Wang Heping and Mr. Wang Heping, and in 2001, he held the first personal exhibition of his painting and calligraphy works in Shandong, and participated in the "Cross-Straits Fine Arts Exchange Exhibition in 2005" in 2005, In 2005, he participated in "2005 Cross-Strait Art Exchange Exhibition", "Academic Exchange Exhibition of Chinese Contemporary Young and Middle-aged Painters", "Painting Style - Market - Contemporary Chinese Painters Invitation Exhibition", "Zero Point In 2006, he participated in "Painting Style - Market - Contemporary Chinese Painters Invitational Exhibition", "Zero Point - Qilu Invitational Exhibition" and other important academic exhibitions. His works of Chinese painting and special introduction have been published in many professional newspapers and magazines, and he has also published "Chinese Contemporary Painting and Calligraphy Artists Series - Yiran's Works", and so on.

Wang Weixin graduated from the Department of Arts and Crafts of the Beijing Institute of Fashion Technology in 1995, and held the Wang Weixin Painting and Calligraphy

Art Exhibition in the National Art Museum of China in 1996. His works were exhibited in the Beijing Youth Art Works Exhibition. He has participated in the Beijing Youth Art Works Exhibition, the Verification of Strength - Five Chinese Painters Exhibition, the Contemporary Ink Painting Exploration Exhibition

, the Four-Person Painting Exhibition, and the Famous Painting Lotus Exhibition. His works have been featured in Fine Arts, Chinese Painter, Youth Calligraphy, China

Calligraphy News, Calligraphy News, CCTV Calligraphy and Painting, etc. In 1999, he published the collection of paintings of Wang Weixin

.