Difference between Song Dynasty Landscape Painting and Modern Landscape Painting

(I) Song Dynasty

Before the Song Dynasty, Chinese painting had developed significantly, with the emergence of the "Three Families of Landscape" and the "Xu-Huang Style of Flower and Bird Paintings". During the Song Dynasty, the Royal Academy of Painting was established. According to Deng Chun, the author of "The Painting of the Jiji", Emperor Huizong of the Song Dynasty personally presided over the Academy of Painting, and emphasized "likeness" and "law", which meant learning from the tradition, and "likeness", which meant reproducing the objective objects in a realistic and detailed manner. Song Huizong took realism and resemblance as his dominant ideas and developed a style of fine craftsmanship and carving. Xuanhe Painting Academy of the above painting style in the Southern Song Shaoxing Painting Academy continues to be developed, the painter to pursue the image of realism, the composition of the refinement. In general, the two Song court paintings pursued a high degree of "realism", and some art historians have called the two Song court paintings "the pinnacle of Oriental realistic art. Some art historians have called Song court painting "the pinnacle of Oriental realistic art." [4] When realistic art reaches the extreme, it is easy to go to the opposite direction. Some painters in the Song Dynasty who had extensive cultural cultivation discovered this drawback and took a different approach in theory and practice, proposing the theory of literati painting for the first time.

Su Shi was the first to articulate the theory of literati painting in a comprehensive way, which played a decisive role in the formation of the literati painting system. First, he put forward the concept of "literati painting,"

"To view literati paintings is like reading the horses of the world, and taking their thoughts and feelings into account. Nai if the painter, often only take the whip and fur groove stable ruminants, no little hair, see a few feet tired. Han Jie real scholar painting also." ("Dongpo title trek? (Song Hanjie painting)

Secondly, he elevated the historical status of the painter Wang Wei, showing the desire to separate the literati painters and professional painters (painters):

"Although Wu Sheng is wonderful, but still to the painter's theory. Mochizuki got it outside the image, like Xian Li Xie Longfan." (Fengxiang Eight Views?

Once again, he advocated a poetic and picturesque style of literati painting, opposed to the complete pursuit of resemblance to the style of painting:

"Taste Moqizume's poetry, poetry has a picture. Viewing Mochizuki's paintings, there is poetry in the paintings." (Mochizuki's "Smoke and Rain in Lantian")

"When discussing paintings with similarity of form, see the neighbor of a child. If you are a poet, you are not a poet. Poetry and painting are the same, heavenly work and freshness. The bird in the side of the luan sketches, Zhao Chang flowers to convey the spirit. Why are these two paintings so sparse and even? Who said a little red, to send boundless spring." (Book of Yan Ling Wang Zhangzhu painted folded branches two)

From the painting practice, Su Shi's "dead wood and strange stone figure" can see his aesthetic practice, in addition to Wen Tong's ink and bamboo figure with Su Shi **** with the creation of "dead wood and bamboo stone" of the literati painting subject matter. Figure painting, with a high degree of literature, calligraphy, antiquities appreciation Li Gonglin Tang Dynasty "white painting" creative development of white, this detached from the color of the line more emphasis on calligraphy and abstract aesthetic interest, more in line with the aesthetic standards of the literati. Southern Song Dynasty Mi Fu, Mi Youren father and son of the original "clouds and mountains play ink" and "Mi point chapped", marking the transformation of landscape painting to simple instead of dense, by the beginning of the Yuan Gao Kegong inherited the development of the Yuan, Ming and Qing dynasty literati painting has had a great impact. In the late Southern Song Dynasty, there were the representative figures of literati ink and bamboo painting, Zhao Mengjian and Zheng Sishao.

(3) Modern Times

There have been three debates on Chinese painting in modern times, the core issue of which is how to look at traditional Chinese painting characterized by literati painting, whether to inherit or abandon it, and whether to Westernize it or to inherit the tradition completely. In the first controversy, Kang Youwei, Chen Duxiu and others demanded a revolution in art and a complete transformation of painting by adopting Western realistic methods, while Chen Shizeng and others defended the status and value of Chinese literati painting and published an article entitled "The Value of Literati Painting", which provided a theoretical and systematic summary and explanation of Chinese literati painting. The second time was in the 1940s and 1950s when Xu Beihong put forward the idea that "sketching is the foundation of all plastic arts", advocating that the study of Chinese painting in art colleges and universities must start with sketching, while Pan Tianshou and others advocated the restoration of the Department of Chinese Painting, and that Chinese painting should be free from the influence of Western painting and be developed and taught independently. The third time was since the 1980s, when Wu Guanzhong put forward the idea of modern painting to revolutionize Chinese painting. From the viewpoint of creative practice, modern Chinese painting has such three paths, and each of them has produced masters. First, Wu Changshuo, Qi Baishi, Huang Binhong, and Lu Yanshao, who completely inherited traditional painting and continued to explore and innovate; second, Liu Haisu, Pan Tianshou, and Li Keran, who were based on traditional Chinese painting and borrowed techniques from the West; and third, Xu Beihong, and Lin Fengmian, who adopted Western painting techniques and fused various schools of painting from China and the West. The question of where traditional Chinese painting, characterized by literati painting, is heading is still a matter of constant discussion.

Three Artistic Style and Aesthetic Significance of Literati Painting

To explore the artistic style and aesthetic significance of literati painting is a huge subject, and this paper will only make a little elaboration on several characteristics of literati painting.

(I) The Four Gentlemen

The Four Gentlemen of Plum, Orchid, Bamboo and Chrysanthemum, together with the Pine and the Stone, became the favorite subjects of the literati painters. Plum blossoms open in the cold, cold fighting snow, orchids, fragrant and not colorful, grass self-pity, bamboo, evergreen, false heart, straight pole cloud, chrysanthemums proud of the frost spit incense, lonely standard bone, pine trees upright and evergreen, stone hard and difficult to offend, they are all used as a symbol of chastity and purity of the literati painters, in order to metaphorical gentleman's style, through which the literati express their inner or heroic or depressed mood. Express their own elegance. Tao Qian's "picking chrysanthemums under the East Fence, leisurely between the South Mountain"; Su Shi made straight bamboo, said "bamboo born when it is born by section"; Wu Zhen since the number of the Plum Blossom Taoist, the words of the Plum Wife and Crane Son and the end of the old man; Zheng Sishao because of the loss of the country lost soil for the root orchids ... ...Although all are under the sway of Confucianism and the solace of Taoist and interpretive thought, there is no lack of literate romance. Especially in the Yuan Dynasty, where national conflicts were deeper, they became the subject of paintings and "emotional symbols" for painters to express their feelings. Many painters specialize in the "Four Gentlemen" and the pine and stone, such as Wang Coronation's ink plums, pipeline rising orchids, Li Shixing's bamboos, Qian Chuan's chrysanthemums, Cao Zhibai's pines, Ni Zan's rocks, and Wentong's ink bamboo. Wentong, for example, once said of himself, "I am not comfortable with the idea, but I have nothing to leave behind, so I have a tendency to use ink and bamboo." (Ni Zan, "The Complete Works of the Qing Secret Pavilion," Volume 9, Trek (for Ezhong) Bamboo) His ink bamboo was not a likeness, but a big step forward in freehand writing, and it had a great impact. In the cultural circles at that time, these works have self-evident effect. This trend stretched for many years, to the formation of tradition, although different generations of allegory, but the literati paintings of plum orchids, bamboo, chrysanthemums, pine and stone to symbolize the high ethos of the wind and moral integrity of the wind, and has not declined.

(2) the main artistic style of literati painting

Mr. Wu Lifu summarized several aesthetic categories of literati painting:?1? The first is simplicity, literati painting is still simple, such as the Southern Song Dynasty, Ma Yuan will simplify the structure of the "one corner", Ni Yunlin claimed that "the so-called paintings of the people, the brush, not seeking similarity, talk about a self-explanatory, not to seek a similarity, not to seek a similarity. Ni Yunlin said of himself, "What people call painting is a sketchy brushwork that does not seek resemblance, but rather entertains itself." Most of Ni's paintings are of sparse forests, slopes and rocks, and distant mountains and ridges, with not many brushstrokes, but they are quite beautiful to look at. Zhao Mengfu also proposed the unity of "ancient" and "simple". The second is elegance, for literati painters, manifested as a high degree of combination of calligraphy and brushwork, and brushwork and ink need to inherit a certain tradition, which is the literati painting elegant style and tradition of the problem. For example, Li Gonglin, learned, has a high degree of connoisseurship, he is also elegant painter, his paintings from the subject matter to the artistic conception, the use of ink and brush reflect the elegant style. The third is clumsy, literati painters, raw clumsiness, ancient clumsiness, means not to show off the talent, not make gas, it is valuable in the convergence of about, and convergence is more in line with the Confucian "neutral" way. Huang Tingjian said: "a few books to be more clumsy than skillful, the recent world of young people make words, such as a new woman grooming, a hundred kinds of embellishments, the end of no martyrs also." (Shangu Inscription Trees, Volume 3, "Title Li Gongyou Painting") Fourth, light, literati painting boasts of transcending nature, not confined to things, forming a set of bland and na?ve art style. Mi Fu's and Ni Yunlin's paintings reflect this style. Fifth, accidental, literati paintings sometimes into the object I am one, the mind and hand to forget the realm, seems to be unintentional, accidentally, this "accidental", "from" means bland and naive, no artifice, no axe marks, also known as the interest of the sky. Sixth, vertical posture, strange, Liang Kai, Shi Tao, Xu Wei, Yangzhou Eight Monsters and other people's painting style is characterized by strange, vertical posture. Shi Tao believes that when painting, the heart and hands should be liberated and changes should be generated, so that the art of landscape painting can reach the point of fast heart and free spirit.

(C) the literati painting of ink and brush

Features of a: poetry, calligraphy, painting, printing and inscription. Literati painting rose in the Yuan Dynasty, painting has developed into an art of the literati to send interest. Talented literati in addition to the painting of the meaning, but also write poems to fill in the painting, explaining the meaning of the painting, expressing emotions, elegant and implicit, endless interest; some painters are more exposed, simply get rid of the constraints of the poetic metrics, the pen in the painting to mention the sentence trembling, direct expression of the heart. Calligraphy or exuberant, or elegant, or simple, or neat, and painting ink and brush style integration, play a graphic complementary, enhance the role of artistic effect. At this time, the treatment of the seal with more ballpoint text, seal or name seal, white or Zhuwen, shape or square or round, or long or flat, or portrait, or shape of the object, some bet on the foot, some of the first, in the plain paper, silk and silk on the calligraphy, black and red, virtual and real, pleasing to the eyes and to the painting adds a wonderful fun not exhaustive air of the scrolls. Poetry, calligraphy, painting, printing began to become one, poetry and painting are linked, poetry is invisible painting, painting is a tangible poem, poetry through the painting complement each other, which also marks the perfection of this form of literati painting.

Feature 2: Attaching importance to calligraphy and painting, and emphasizing the interest of ink and brushwork. The literati painters were almost all calligraphers. During the Northern and Southern Song dynasties, many great literati, such as Su Shi, Huang Tingjian, and Mi Fu, practiced and developed their ink and wash techniques by using calligraphy in their paintings. Zhang Yanyuan, in his Record of Famous Paintings of All Ages, said, "The bones and air of the artist's form and appearance are all based on his intention and are attributed to the use of the brush; therefore, those who are able to write are all able to paint". Zhao Mengfu's poem, "stone like white wood like seal script, writing bamboo still needs eight methods, if someone can do this, we must know that painting and calligraphy were originally the same". Qian selected the "Clerical body ear", Ke Jiushi on painting bamboo "write bamboo pole with seal law, branch with grass calligraphy, write the leaves with the eight-pointed method or with Lugong skimming method, wood and stone with the folding hairpin strands, house leak marks of the legacy of the idea". Calligraphy in the points, lines and strokes between the combination is not only the composition of the basic elements of the artistic image, but also an important, independent aesthetic value of the appreciation of the object. Brush strokes of speed and lightness, the sparseness and thickness of the dots and lines of the formation of the unique rhythm and rhyme, to be able to reflect the creative process of the painter's unique state of mind, temperament and personality, and will be these and the expression of the shape of things organically combined with the spirit of the heart and hand in tune, the gas and power together, the trace, although broken and gas even, the pen is not a week, but the intention of the week. In terms of color and ink, literati paintings pay more attention to the use of ink, paying attention to the five colors of ink, using ink dry and wet, thick and thin, thick and thick, pale and moist subtle changes, and using simple ink to summarize the gorgeous nature.

(4) Literati Painting and Zen

Theoretically speaking, Su Shi, the proposer of the theory of literati painting, and Dong Qichang, the summarizer of the theory, were both influenced by Zen. Su Shi, commenting on Sun Bit, said, "In the Tang Guangming, the place of escape Sun Bit began to come up with a new idea, painting running turbulence and huge waves, with the rocks and curves, with the shape of the object, all the changes in the water, known as Shen Yi." The idea of giving shape to things is an important idea in the philosophy of Taoism and Zen. With the shape of things, in fact, with the heart of the shape, with the shape of things, although it is natural, let the world at ease in the realm of the emergence of the empty cave, nowhere in the meditative, a thought of nothing, a trace of not touching the intention of a small in the white clouds, the heart of a swirling in the realm of the flowing water. Su Shi here to take in the Zen philosophy of "no idea", and become a kind of ethereal and clear aesthetic realm. Here, Su Shi emphasized the realm of "emptiness", "the stillness is the reason for the group movement, and the emptiness is the reason for all the realms." ("Send Sen Liao Shi")?1?

Looking at Dong Qichang, the North-South split is the embodiment of his absorption of Zen into painting, the South Sect emphasizes epiphany, a super straight into the North Sect emphasizes gradualism, the emphasis on the process and the power. Dong Qichang used the North-South division to revere the South and suppress the North, and to promote the literati style of painting. The North-South division also emphasized mystical enlightenment as the fundamental way of artistic creation through the analysis of artificiality and mystical enlightenment. To a certain extent, it can be said that the emergence of Zen Buddhism, and the fixation of Southern Zen, changed the direction of the development of Chinese art. Zen is based on the principle of "teaching without words. Directly pointing to the heart, seeing the nature of Buddha" as the door rules, "no words", emphasizing the "heart to heart" of the heart of the wonderful transmission is an important feature of Zen. Dong Qichang and other artists used literati paintings to belong to the Southern Sect, and artisan paintings to belong to the Northern Sect. The Southern Sect emphasized enlightenment, as Dong Qichang put it, "one surpasses the other and enters the land of the Buddha". In the opinion of the advocates of the Southern School, art is based on the power of enlightenment, without which, in spite of all the hard work and effort, one will be isolated from true art. Throughout the practice of Chinese painting, there is no lack of literate Zen monks and painters, such as Yujian of the Southern Song Dynasty, Wen Riguan and Fa Chang of the early Yuan Dynasty, all of whom applied Zen concepts to the practice of painting. The four monks of the early Qing Dynasty also embodied to some extent the fusion of Zen and painting.

(4) Summary

"Chinese literati painting" is a broad concept. Just as there is no sharp line between "literati" and non-literati, there is no absolute standard for the division between literati painting and non-literati painting, and it is also difficult to determine when literati painting emerged. However, we should also see that literati painting first appeared as a style of painting opposite to courtyard painting, and in the process of long-term historical evolution, literati painting also formed a general system to establish a set of art system with graphic significance, stylistic norms and technical standards, and set up its own relative evaluation standards, which is rooted in Chinese culture and philosophy, and Chinese calligraphy has a close and inextricable link. This system and standard is rooted in Chinese culture and philosophy, and has a close and inseparable connection with Chinese calligraphy. It has the characteristics of emphasizing the fun of writing and ink, reflecting the sentiment of the literati, combining poetry, calligraphy, painting and printing, and using calligraphy into painting.

The discussion on "literati painting" has been one of the hottest topics in Chinese painting and cultural circles since the 20th century, from Kang Youwei to Chen Duxiu and Lu Xun, from Chen Shizeng to Lin Fengmian and Xu Beihong, and even up to today's scholars and artists, all of them have expressed many insightful opinions, and there are both praises and criticisms, with a diversity of opinions on it. But one thing seems to be certain now. But one thing seems to be certain now, that is, the literati painting as a category of painting, a method of expression, or more accurately as an aesthetic pursuit, is a very precious part of our national artistic heritage, its inner spirit and form of language, will always be a treasure in the treasure house of human art.

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Answer: strang yan fan dust - lifter grade 4 11-14 18:34

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