The painting style characteristics of the Southern Song Dynasty, as well as the analysis of famous painters and works.

Four Schools in Southern Song Dynasty-Liu Songnian

Liu Songnian, a native of Qiantang (now Hangzhou, Zhejiang), was called "Liu Qingbo" or "Secret Door Liu" because he lived outside Qingbo Gate. Xi Chun's early painting academy students were promoted to painting academy in Shao Xi period (1190 ~1194). The Four Scenery Landscape Volume depicts the four seasons scenery of the West Lake courtyard villa. In the picture of spring scenery, the spring breeze is green, the grass is growing, and the school is full of vitality to go abroad to find spring. The summer scene is full of flowers, the new lotus is on display, and the owner is sitting up calmly and indifferently; The middle-aged and old trees in Qiu Jingtu are frosty, with thick autumn colors and deep courtyards, and the old people sit alone; Winter scene, winter snowflakes fluttering, the north wind blowing, riding a donkey across the bridge, stepping on the snow in Xun Mei. The four seasons change clearly, the four scenes are vividly portrayed, the pen and ink are rigorous and meticulous, vigorous and moist, which not only inherits the tradition of fine brushwork in boundary painting, but also organically integrates characters with the environment, making the pen and ink vivid and poetic. The Song Dynasty Tagetu Axis in the Palace Museum is a silk edition, with a length of 192.5cm and a width of 1 1cm.

Four Schools in Southern Song Dynasty —— Ma Yuan

Ma Yuan was born in Qiantang (now Hangzhou, Zhejiang). His great-grandfather, grandfather, uncle, brother and I are all waiting for a letter from the Academy. They lived in Song Guangzong and Ningzong years. Ma Yuan is good at landscapes, figures, flowers and birds, especially in landscape painting. Ma Yuan is called "the corner of the horse", which means that Ma Yuan often works as a corner of the landscape. The lines of trees and stones he draws are firm and firm, like a twisted corner. He often does not make a panoramic layout, but depicts corner scenes. For example, in the Ming Dynasty, Cao Zhao said, "Or the steep peak goes straight up without seeing the top, or the cliff goes straight down without seeing the feet, or the mountain is near the sky and the mountain is low, or the boat sits alone across the moon." (Ming? Cao Zhao: The Theory of Gegu is a masterpiece of Ma Yuan's large-scale landscapes and a classic of axe chopping. In the picture, the distant mountains stand tall, the mist fills the air, the palace is looming, the small bridge runs long, and the old man is drunk. He sings and walks, living and working in peace. The picture shows a five-character quatrain inscribed on the painting by Song Ningzong Zhao Kuo: "Chaoyang Li Di Suyu Qingji Store. Happy are the people in good years, who sing on the ridge. " The pages of the Five-Pillar Opera Hall in the Southern Song Dynasty in the Palace Museum are in silk, with a length of 23 cm and a width of 26 cm.

Four Schools in Southern Song Dynasty —— Li Tang

Li Tang entered the Painting Academy when Huizong was in the Northern Song Dynasty, and after crossing to the south, he was appointed as the dean of the Painting Academy at the age of eighty, with the title of Cheng Zhonglang. He created a unique variant, and initiated the painting circle of the Southern Song Dynasty. The background of the development of the "Four Schools of Southern Song Dynasty" is the establishment of the Southern Song Dynasty in Lin 'an. After the political power stabilized a little, Zhao Gou reorganized the Palace Painting Academy, and the painting in the south of the Yangtze River had a new development world on the basis of inheriting the achievements of the Northern Song Dynasty. "Four Schools in Southern Song Dynasty" represents the painting achievements in this period. The artistic styles of these four schools not only have common characteristics, but also have their own artistic individuality. Their painting style prevailed in the Southern Song Dynasty from 65438 to 050, and also had a far-reaching impact on later generations. Liu Songnian's "Four Scenery of Southern Song Dynasty" in the Palace Museum is a silk book with four color pictures, with a length of 465,438+0.2 cm, a width of 67.9 cm, a width of 69.2 cm, a width of 68.9 cm and a width of 69.5 cm.

Four Schools in Southern Song Dynasty-Xia Gui

Xia Gui was born in Qiantang (now Hangzhou, Zhejiang). Chao Painting Academy is waiting for a letter. Novice, later worker. Xiagui is called "Xia Banbian", which means that Xiagui is mostly a landscape with half forest belts on the beach. In this picture, the phoenix tree with rich colors is the double hook, which is vigorous and simple. Bamboo leaves are divided into different shades. The characters in the hut are drawn with simple strokes, and the mountains in the distance are lightly stained with flowers. The pen is decisive, the pen and ink are dripping, the brushwork is old, but the charm is beautiful.

On the Painting Style of Southern Song Dynasty

First, the changes of landscape in the Southern Song Dynasty

In the early stage of the development of ancient landscape painting in China, people were faced with the task of transforming things in the real world into two-dimensional images. In order to achieve the best effect of this transfer, people must try their best to pursue completeness in framing, hoping to have a complete and true reflection, so they developed into panoramic composition. Because of this, even in the immature state of landscape painting, "water can't be flooded" and "people are bigger than mountains", painters still have to draw boats in the water and put people in the mountains. For a long time, panoramic composition has been the mainstream form of landscape painting creation.

From the Five Dynasties to the Northern Song Dynasty, the panoramic landscape painting schema developed unprecedentedly and was highly mature. For example, Hao Jing's Crazy Road Map depicts many things, such as mountains, trees, buildings, bridges, waterfalls, people, donkeys and so on. The picture is very detailed and rich. The proportion of "Zhang Shan Shu Chi, Macun Douren" is also very harmonious. The picture is magnificent, which shows the "Clouds on the Peak" that the painter likes to write in a panoramic way, and has the majestic atmosphere of "a hundred feet of dangerous peaks, standing between green and black". Other works, such as Xiaoxiang Map by Dong Yuan, Journey to the Western Hills by Fan Kuan, Early Spring Map by Guo, Thousand Miles of Rivers and Mountains by Wang Ximeng, Autumn Color Map by Zhao Boju, etc. It is either a vertical axis or a towering mountain, giving people a sense of fullness; Or it is a long scroll, with mountains and mountains, and the momentum is endless, which is dizzying. These large-scale paintings all reflect the characteristics of panoramic composition.

The landscape painting with panoramic composition is completely open, the realm is stretched, the context of mountains and valleys is clearly explained, and there is a feasible, promising, livable and tourable landscape implication. The scenery in the picture often wins with more, which is fully expressed and distinct, giving people different visual characteristics such as lofty, far-reaching and flat. For a long time, this composition was considered as the best way to enjoy nature.

However, in the Southern Song Dynasty, painters led by Li Tang, Liu Songnian, Ma Yuan and Xia Gui changed the original features of China's landscape paintings and formed a unique "corner scene" era style. In the Ming Dynasty, Wang Shizhen talked about the change of Yiyuan landscape, saying that "Liu, Li, Ma and Xia will change again". The change of landscape painting this time is to explore new formal rules in the spatial layout structure of the picture and establish a new picture order with new artistic interest and aesthetic pursuit, which is particularly prominent compared with the changes of landscape painting in other periods, so that many art historians call it "mutation".

However, there are few convincing explanations for this great change.

One view is that the corner scene is related to the regional environment in which the Southern Song Dynasty painters lived. Most landscape paintings in the Southern Song Dynasty take Qiantang scenery as the description object, and Hangzhou is surrounded by mountains. When the painter observes things, he is at a low point and looks up at the scenery, thus producing a corner-style picture composition. This view ignores the initiative of the painter's subject, and can only paint passively in the "low valley" and "looking up", which is also inconsistent with common sense of life. What's more, many typical landscape paintings in the Southern Song Dynasty, such as Xiao Zhao's View of Hillside Buildings, Jia Shigu's Ancient Temple in Yan Guan, and Ma Yuan's Walking Songs, are all northern landscape landscapes with solid stone bodies, towering pines and empty sword peaks. Therefore, no matter what kind of landscape theme, as long as it touches the artist's artistic brushwork, it can achieve the unique artistic style and artistic effect on the screen.

Another view is that the "corner scene" on the screen is a reflection of Taiping corner and residual water in the Southern Song Dynasty. The painter satirized the imperial court at that time with his paintings, expressing his infinite feelings for the fall of mountains and rivers and his nostalgia for the motherland. This view further points out that the basic integrity of the landscape in the Northern Song Dynasty corresponds to the panoramic landscape paintings of Li Cheng and Fan Kuan, and combined with the stable social order, developed social economy and high government attention in the Northern Song Dynasty, a full, atmospheric, fair and rigorous painting schema was produced; But it was not until the decline of the Northern Song Dynasty that the "thin golden body" appeared. In the Southern Song Dynasty, the partial security regime was only half of the country, and accordingly, a picture of "one corner" and "half of the country" naturally appeared.

This kind of induction and summary of the artistic style of painting, especially from the political rather than aesthetic point of view, did not appear in the Southern Song Dynasty at that time, nor did it appear in the Yuan Dynasty, but it did not rise until the late Ming Dynasty, for example:

In the Ming Dynasty, Cao Zhao talked about Ma Yuan's works in "On Gegu": "The whole territory is not much, and it is small, or the top of the dangerous peak is not seen; Or go straight down the cliff and see your feet; Or the nearby mountains are towering and the distant mountains are low; Or boating across the moon and sitting alone, this scene is also. "

In the Ming Dynasty, Han Ang recorded in "The Continuation of Painting Treasure": "Guo (1370- 1444), a native of Yongjia, was good at mountains and rivers, with dense layout, and was the favorite of Changling. There is a saying that Ma Yuan went to Xia Gui, but he said, "This is residual water from Canshan Mountain, which belongs to Anhe in Song Dynasty. "

There is an entry "Ma Xia's painting" in Dialectics of Seven Manuscripts written by Lang Ying in Ming Dynasty: "Emperor Taizong said: The paintings of Xia Gui and Ma Yuan are incomplete in the mountains and biased in the Song Dynasty. Today, Ma and Xia's axe are rare. What you see is a lonely peak and a tree. It' s really a mountain and river without twists and turns. " There is also a note at the back: "If" Zhongzhou Collection "doesn't have a good beginning, then the poem is related to the luck of the country."

There is a poem in Yu Fengqing's Inscription on Calligraphy and Painting in the Ming Dynasty: "The Central Plains is rich, but it has no intention of doing good work. I'm afraid of touching your arm, and there's just water left. "

Wang Ming-keyu's "coral net with Ma Yuan and barren mountain water map" records: "Commentators say that painting can make mountains more watery, while crossing the south is more scenic, which is also called" Ma Jiao "."

Zhu Ming Moulong's "Painting History Society" records: "Li Tang, Liu Songnian, Ma Yuan and Xia Gui are the four great painters after crossing the south. Although the painters focus on residual mountains and water, they are extremely exquisite."

……

It can be seen that it was in the Ming Dynasty that the spatial layout of "corner scenery" was linked with the political pattern of "residual mountains and water", which influenced people's cognition and interpretation of the style of landscape painting in the Southern Song Dynasty for hundreds of years.

Describing the "Cape Scene" as the reflection of the residual water in the Southern Song Dynasty, and describing the composition and simplicity of the landscape on the screen as the reflection of the size of the political territory, it is inevitable that there will be speculation and nostalgia. Judging from the actual effect of paintings, we will never use the simple, bright and idyllic beautiful picture and artistic conception presented by "Corner Scene" to express the lamentable residual water. What's more, in the Southern Song Dynasty, the Painting Academy occupied a dominant position in the painting world. In order to meet the needs of the rulers, the painters of the academy will not insinuate the residual water politics, let alone form the painting style of the whole era. On the contrary, painters in the Southern Song Dynasty created many paintings that whitewash the peace, and they used the techniques of edge and corner scenery, such as Ma Yuan's "Travel Map". At the top of the picture is a poem by Wang Anshi inscribed by Zhao Kuo, Song Ningzong: "Su Yu Qing Ji Dian, Chaoyang Lidicheng, people in good years are happy to enjoy life and enmity, and Song Xing is on Longshang". Therefore, our understanding of the perspective should return to the perspective of the development of painting art itself.

So, where did this unique painting appearance of the Southern Song Dynasty come from?

Second, the circular sector system

In Song Dynasty, a brand-new painting form-fan painting was formally established in the history of China painting. "Historical Records" records: "During the period of Zheng He, every time Hui Zong had a painting fan, he copied it from all six houses, even hundreds." Lu You, a poet in the Southern Song Dynasty, also sighed, "I don't know about Wuzhong's recent events. Why don't everyone draw one?" At that time, famous painters all over the world studied pen and ink and operated painting fans, forming a spectacular artistic scene. As a form of sketch painting, sector is completely separated from sector. At that time, the painter painted on the fan and borrowed the form of the fan actively, which injected a fresh, natural and lively artistic atmosphere into the creation of Chinese painting. With its flexible and compact shape, sector painting is very different from traditional long scroll and vertical axis painting, thus gaining a huge artistic development space.

The author believes that the introduction of the round fan into the creative form of Chinese painting is an important reason for the changes in the composition and framing of landscape paintings in the Southern Song Dynasty.

As far as painting art is concerned, the formation and change of its style and appearance are influenced by many factors. There are two aspects, namely, the material of the painting and the form and shape of the painting. Because they are regarded as "objects", which are far more stable than the surface style and appearance of painting art, it is easy for art style researchers to ignore them. In fact, these two aspects can have a very significant impact on painting style, and also determine the essential characteristics of painting art to a great extent. The renewal and change of painting materials will even affect beyond the scope of style and appearance, resulting in differences in painting categories, such as Chinese painting, oil painting, watercolor painting, lacquer painting, sketch, printmaking and so on. Generally speaking, the form and form of painting works will not cause this change, but the differences in size, size, length, square and circle have a profound impact on the creative ideas of painting art, such as "pictograph of things" and "quotient position", which will inevitably change the style and appearance of painting.

In the creation of sector painting, objectively, the painter's perspective is required to change from a distant view to a close view, and from overall grasp to local exploration. Compared with long scrolls and large paintings, fan paintings have changed from "taking the big picture as small" to "seeing the big from small", and the artistic perspective has changed. This is like looking at the world with a magnifying glass, which can guide the viewer's eyes, concentrate the viewer's energy, observe carefully and carefully taste the wonderful scene in the micro-art world. In this new creative form, the landscape rarely appears panoramic composition, but some parts are boldly intercepted and enlarged; Flowers and birds highlight the main body in composition, are good at cutting, painting and folding skills, and emphasize the contrast between reality and reality in layout, expecting something; Most characters choose a limited number of typical individual objects, and then carefully describe and express them on the screen. The sector is like the zoom lens of a camera, which shrinks the tall things, separates the complex things and finally freezes them into a clear and beautiful picture.

According to "Continued Painting", Xiao Ben, a Southern Liang painter, tried to draw a round fan with mountains and rivers on it. Close at hand, but far away; In the square inch, it is rigorous. " The mountains and rivers painted on this round fan will inevitably cut and refine the depicted objects. It can also be judged that the shape of the sector objectively requires changing the overlapping and densely arranged panoramic patterns of mountains and obstacles, forming an interception pattern that removes its complexity and takes its main points, and the artistic perspective has correspondingly changed from "seeing the big with the big" to "seeing the big with the small", which is the embryonic form of "corner view". In this sense, it is the fan-shaped sketch that has a natural internal relationship with local framing and key description, which promotes the generation of "corner scene" painting schema. For example, Zhao Lingqi's "Orange Orange Green Map" in the Northern Song Dynasty is a small scene with a fan. The picture is composed diagonally to form a sense of balance. The upper left corner and the lower right corner are densely covered with citrus jungles, and the middle part is open with water, forming a large blank. This composition of "wide water near the shore and wide mountains" is almost the same as that of "corner view", and it also reflects the aesthetic taste of space pursued by small landscape. During the Southern Song Dynasty, this aesthetic interest in space was applied to the creation of large-scale landscape paintings with long scrolls and vertical axes. From then on, the composition tradition of "leaving the sky above, the land below and the scenery in the middle" was broken, and the landscape style of the Southern Song Dynasty was formally formed.