Song dynasty culture and art

Chinese painting, especially landscape painting, was very mature in the Song Dynasty. Not only depicts the scenery, but also emphasizes the artistic conception in the painting. Taoism emphasizes Yin and Yang, while Neo-Confucianism in Song Dynasty pays attention to the unity of man and nature and pursues justice hidden between social and natural. Since the Song Dynasty, people have known how to make translucent porcelain and celadon products mixed with enamel. Longquan celadon was very popular in the Song Dynasty. Black lacquer and red lacquer in Song Dynasty have exquisite carvings, including natural landscapes, historical figures and simple decorative patterns. For example, when the yellow land is red, draw a red wall, Zhu Jindi draws a black wall, people in pavilions pile up black boxes, and Zhu Jindi, who is drunk, draws a blackboard. Although bronze, porcelain, lacquerware, jade carving, sculpture, architecture and ink painting depicting animals are highly praised by literati, landscape painting still ranks first. The master of landscape painting has mastered how to construct a carefully simulated close-range, and use the high mountains and flowing water interspersed between clouds to create an infinite prospect.

The painting style in Song Dynasty was different. The landscape paintings in the Northern Song Dynasty are more brilliant, with a strong sense of texture, and sometimes soft and beautiful in Wen Ya, with great momentum. Under the advocacy of Su Shi, he gradually moved towards the most self-expression, pursuing artistic conception and spirit likeness. After crossing the south, it depicts the beautiful landscape of rivers and mountains. The composition is simple, but the flower-and-bird painting has become more rigorous and refined. The artistic style of painting in Song Dynasty was influenced by Neo-Confucianism in Song Dynasty. I saw the precise layout from flowers and birds and paid attention to realism. The representative works of flower-and-bird painting include Cui Bai's Double Happiness Picture, in which rabbits and birds echo each other, leaves and grasses point to the same side, alluding to the bleak autumn wind, Zhao Chang's New Year Picture, Li Di's Chicken to be Fed, Zhuang Lin's Fruit Bird Picture and Song Li's Hua Lantu. The representative works of landscape painting include Ye Ping in the Cold Forest by Li Cheng, Journey to the Western Hills by Fan Kuan, and View of the Western Hills by Yan Wengui.

Fan Kuan, The Journey to the West and Song Dynasty were the pinnacle of China's calligraphy and painting. The Emperor of Song Dynasty paid special attention to calligraphy and painting, and established Hanlin Painting Bureau, Hanlin Painting Academy and Painting Science in the imperial court. Painting in Song Dynasty can be divided into three categories: landscape painting, figure painting and flower-and-bird painting. From China landscape painting to Song Dynasty, there are many different schools and painters. In the early Song Dynasty, China's landscape painting inherited Hao Jing, Guan Tong, Dong Yuan and Ju Ran in the Five Dynasties, and pushed China's landscape painting to a peak. Mi Fei and Mi Youren were the most outstanding sons in the Northern Song Dynasty. They successfully combined literati painting with landscape painting style, which is beyond the reach of future generations. Famous landscape painters in the Northern Song Dynasty include Fan Kuan and Guo. The composition of the mountain peaks in The Journey to the West, Fan Kuan shows the majestic momentum of the mountain. A huge stone in the foreground is in balance with the main peak, and there is a waterfall on the mountainside, keeping the momentum up and down. After the Southern Crossing in Song Dynasty, the landscape painting style changed greatly, and ink painting was advocated. Li Tang, Liu Songnian, Ma Yuan and Xia Gui are famous, and they are known as the "Four Great Masters of Southern Song Dynasty". Li Tang, Liu Songnian and other painters are famous for their meticulous painting and exquisite neatness. Later, Ma Yuan and Xia Gui learned the painting methods of the Tang Dynasty and participated in the ink painting methods of the Southern Song Dynasty.

The combination of Song Huizong's literati painting and flower-and-bird painting made the flower-and-bird painting in the Song Dynasty particularly beautiful and refined. From the Five Dynasties when Huang Quan and Xu Xi parted ways, to the Song Dynasty, pure aesthetic atmosphere prevailed, so that flower-and-bird painting and landscape painting became more prosperous, almost replacing the central position of figure painting. Huang Jucai and Xu Chongsi were two famous artists in the early Song Dynasty, and their situation was quite prosperous. The landscape developed by the Northern School in the courtyard is similar to that developed by the Southern School outside the courtyard. Besides Huang Xu, Cui Bai and Song Huizong are also good at flower-and-bird painting. Hui Zong's calligraphy and painting play an important role in the art history of China. Hui Zong created "Thin Gold Style", attaching importance to calligraphy and painting. The status of Hanlin Painting and Calligraphy Institute has been greatly improved, and Zhang Zeduan, a famous painter and author of The Riverside Scene at Qingming Festival, was promoted by him. His son Zhao Gou was also edified and became an outstanding calligrapher. During the period of Hui Zong, flower-and-bird painting flourished in university painting, and Hui Zong himself was a flower-and-bird painter. Li, a master of figure painting in Song Dynasty, has a wide range of painting styles and is omnipotent. The Song Dynasty was a prosperous period of boundary painting with the proportion of architecture represented by Guo Zhongshu and Zhang Zeduan. After Du Nan, paintings of historical figures began to rise. Su Hanchen's "Autumn Court Baby Play Picture" shows the spirit and eyes of two children pushing jujube mill, which is amazing. Taoist and Buddhist figure paintings were not very popular in Song Dynasty, but some important painters did appear, including Wu Zongyuan, Li, Liang Kai and others. Among them, "Eighty-seven Immortals Volume" is the most famous, and many immortals line up in a row, flowing like clouds and water, which is extremely vivid.

In Song Dynasty, Huang Tingjian's Poem Volume of Fubo Temple advocated elegance and integrity, paid attention to philosophy, bookishness, stylization and artistic expression, and also advocated individuality and originality. Calligraphy in the Song Dynasty broke away from the style of the Tang Dynasty and created a new bureau. Calligraphy in the Sui, Tang and Five Dynasties paid attention to the embodiment of "work", while the lyrical part of calligraphy in the Song Dynasty needed to be "learned" or "bookish". Su Shi put forward the slogan "I write with my heart", and the brushwork is tight inside and loose outside, which is full of dangers and changes. Su (Su Shi), Huang (Huang Tingjian), Mi (Mi Fei) and Cai (Cai Xiang) originally referred to Cai Jing, one of the six traitors in the Northern Song Dynasty. Later generations changed to Cai Xiang because of his "treacherous character". Northern Song Sijia has changed the face of Tang Kai. Direct promotion and calligraphy heritage. No matter Cai Xiang and Su Dongpo, who are talented and innovative, or Huang Tingjian and Mi Fei, who are looking up to the ancients, they all strive to show their calligraphy style and highlight an unconventional posture, so that the learning atmosphere is gloomy and sandy between pen and ink, giving people a new aesthetic mood. In the Southern Song Dynasty, Wu Shuo, Lu You, Fan Chengda, Zhu, Wen Tianxiang and other calligraphers further extended. Among them, Song Huizong's special calligraphy style is called "Handmade Gold Style". However, the Southern Song Dynasty calligraphers' knowledge and pen and ink skills can't be compared with those of northern Song Sijia. Porcelain in Song Dynasty is a very prosperous period in the history of China ceramics development. At present, ancient ceramic sites 170 counties have been found in China, including 130 counties with kiln sites in Song Dynasty, accounting for 75% of the total. Ceramic historians usually summarize the ceramic kilns in Song Dynasty into six kiln systems, namely: Ding kiln system, Yaozhou kiln system, Jun kiln system and northern Cizhou kiln system; China southern Longquan celadon and Jingdezhen celadon. On the one hand, these kiln systems are special because of the influence of raw materials used in the region, on the other hand, they are the same because of the constraints of political concepts, cultural customs and technical level in the imperial era.

Porcelain in the Song Dynasty, with its simplicity, simplicity, elegance and conciseness, has also set up a monument for our Chinese nation in the history of world craft development that the world admires. Mainly has the following characteristics:

1, break through the situation of "blue in the south and white in the north"

2. There are many kinds and types of equipment. The most popular ones are "Plum Bottle" and "Yuhuchun".

3. The glaze is beautiful, elegant and subtle, noble and simple, with jade-like effect, mainly monochrome porcelain (except Jun kiln). It embodies the beauty of simplicity and elegance advocated by Confucian culture and has obvious national spirit.

4. Decoration methods include printing, painting, carving, picking, applique and carving. The patterns are mainly flowers, birds, insects and fish, and the shape, color and pattern pursue integrity, artistic conception and charm.