What are some famous Chinese painters?

1, Gu Kaizhi

In the history of Chinese painting, the Wei, Jin, North and South Dynasties is a very important historical period. The Eastern Jin dynasty painter Gu Kaizhi is a figure that has to be mentioned in this period.

Gu Kaizhi was not only a painter, but also a painting theorist and poet. He was knowledgeable and talented, good at poetry and calligraphy, and especially proficient in painting. He was especially proficient in painting, such as statues of workers, statues of Buddha, beasts and animals, landscapes, and so on. At that time, he was known as "the best of talent, the best of painting, the best of obsession".

Because of his indulgence in art and literature, Gu Kaizhi was extremely indifferent to fame and fortune status, with "half of the stupidity, half of the cleverness, the philosophy of the world," in order to achieve the highest achievement of his art. His thesis of "moving the mind and getting it right" and "writing God in shape", as well as the "Six Methods" proposed by him, laid the foundation for the development of traditional Chinese painting.

2. Wang Wei

Wang Wei was a famous poet and painter in the Tang Dynasty, with the character Moqi, and the name Moqi Jushi.

Wang Wei was a famous poet and painter of the Tang Dynasty. His name was Mochizuki, and he was called Mochizuki Jushi.

Wang Wei was a Zen Buddhist monk who studied Zen, Zhuang and Taoism, and he was also a master of poetry, calligraphy, painting, and music, and he was famous for his poems, which were written during the reign of Emperor Kaiyuan and Emperor Tianbao, and his poems, which were written in five-character scripts, are mostly about landscapes and idyllic gardens.

Wang Wei not only had excellent literary talent, but also had excellent painting skills. His deep artistic cultivation, love of nature and long experience of living in the mountains and forests made him have a keen and unique feeling for natural beauty, and thus his landscapes and scenery were especially rich in charm, often slightly rendered, and then showed a long and deep mood, which was intriguing to the eye. Later generations regarded him as "the ancestor of Southern landscape painting".

3. Jing Hao

Jing Hao was a painter from Liang in the Five Dynasties. His name was Hao Ran, and he was called Hong Gu Zi.

Because of the war, he lived in seclusion in the Taihang Mountains for many years. Jing Hao was an expert in history and economics, and was also an expert in writing. He was good at painting landscapes and studied under the tassel of Zhang Coronet, absorbing the majestic and steep landscape of the north, painting "with brush and ink, water haloed and inked", and the strokes of the chapped brushes were firm and firm, showing a kind of high and deep back to the ring and the momentum of the big mountain halls.

Jing Hao good for the autumn and winter scenery, the records of successive generations, there are "Kuanglu map", "autumn mountain Lou Guan Tu", "autumn mountain Ruiyi Tu", "autumn fisherman's father map", "autumn mountain Xiaosi Tu", "Chushan Autumn Evening Diagram" and so on.

Jing Hao not only created the Northern School of landscape painting, which emphasized both brush and ink, and was honored as the "ancestor of the Northern School of Landscape Painting", but also left the famous theory of landscape painting, "Brushwork Record", which was based on the false pretense that he had met an old man in Shenzhen Mountain, and in the question and answer session with each other, he put forward the so-called "Six Essentials" of painting, which were: "Six Essentials", "Six Essentials" and "Six Essentials", and "Six Essentials". "Six Essentials", a classic in ancient landscape painting theory.

4, Li Tang

Li Tang, Southern Song Dynasty painter, the word Hei Gu. At first, he sold paintings for a living, and then joined the Academy of Painting in the time of Song Huizong Zhao Ji.

Li Tang specialized in landscapes and figures. He changed his style to that of Jing Hao and Fan Kuan, and pioneered a school of ink painting in the Southern Song Dynasty that was strong and thick. In his later years, the complexity of the simple, craggy brush, the creation of the "big axe" chapped, painted stone hard, three-dimensional sense of strong, painting the water is particularly powerful, with the interest of coiled turbulence. Surviving works include "Ten Thousand Gullies and Pine Wind", "Teaching Children", "Qingxi Fishing", "Changxia River Temple", "Caiwei", "Smoke Temple and Pine Wind" and so on.

Li Tang's "Cai Wei" depicts these two ancient figures who preferred death to losing their moral integrity. Li Tang's use of this historical story to honor those who maintained their integrity and to condemn those who surrendered and defected was a well-intentioned "borrowing from the past to satirize the present" at a time when the Southern Song Dynasty was confronting the Jin Dynasty.

Li Tang's creation is a perfect example of the combination of indulgence and moderation. Who would have thought that Li Tang, at the age of eighty, would still be working as a street vendor in Hangzhou? Anyone can imagine that his heart must have been full of contradictions, but the turbulence of his life did not affect the artist's demand for artistic quality, and his works are exquisite and magnificent, although he is always in the mood for something, he insists on rationality.

5. Zhao Mengfu

Zhao Mengfu, known as Zi'ang, was known as Song Xue, the Taoist of Song Xue. He was the 11th grandson of Zhao Kuangyin, the Great Ancestor of Song, and a direct descendant of Zhao Defang, the King of Qin.

The most important contribution of Zhao Mengfu to Chinese art is one word - elegance. To read Zhao Mengfu's works is to sip a cup of fragrant tea, listen to a piece of silk and bamboo, and enjoy a state of quietness of mind. Zhao Mengfu's influence was so great that after him, the southern culture of juanfu gradually became the cultural mainstream in the minds of Chinese painters.

Wang Shizhen, a Ming scholar, once said, "Literati painting started from Dongpo, to Songxue open the door." This remark basically and objectively summarizes Zhao Mengfu's position in the history of Chinese painting. Whether one is studying the history of Chinese painting or the history of Chinese literati painting, Zhao Mengfu is a key figure that cannot be bypassed.

If it is said that the interest of Tang and Song paintings lies in the creation of realms through literatization, then Zhao Mengfu played a bridging role in the process. If it is said that the literati painting movement before the Yuan Dynasty mainly manifested itself as a preparation for public opinion, and that the literati painting movement after the Yuan Dynasty, with its successful practice, gradually replaced formal painting and evolved into the mainstream of the painting world, then the giant who triggered this change was still Zhao Mengfu.