This paper summarizes the origin and development of ancient painting in China. Urgent! !

The Stone Age was the embryonic period of China's painting. With the improvement of stone-making methods, the original arts and crafts have been developed. However, a few years ago, the examples of China's paintings we knew were only Neolithic patterns painted on ceramic vessels. But in recent years, many provinces in China have discovered rock paintings, which makes historians push the origin of China painting art to the Paleolithic Age. Among these numerous discoveries, there are also many images depicting people, some of which can be called a huge system. Yinshan Rock Painting in Inner Mongolia is one of the earliest rock paintings. There, our ancestors created many such images in about 10 thousand years, and these interrelated images turned the whole mountain into a 300-kilometer-long gallery. Probably inspired by religion or witchcraft, our ancestors worked tirelessly to create these images. Similar images can also be seen in the rock painting site of Jiangjun Cliff in Kongwangshan, Lianyungang, northern Jiangsu. ■ Painting Art in Neolithic Age

When discussing Neolithic paintings, we should still look at the mysterious rock paintings in remote areas. The rock paintings found in Cangyuan, Yunnan Province reflect human activities, including hunting, dancing, sacrifice and war. The composition of rock paintings tends to be more complicated, and the content of rock paintings has also developed from a single object to an interconnected dynamic person. Their existence shows us an important period in the development of China's painting. Of course, artists in this period did not have any boundary restrictions when painting rock paintings, and there was no treatment on the rock surface. Their creation is unrestricted.

All these changes stem from the appearance of pottery and wooden buildings. Creative and imaginative artists immediately found that these materials are excellent places for painting, so there are rich colors and rich patterns on these objects. The painted pottery patterns of Yangshao culture and Majiayao culture are characterized by simplicity, vividness and colorful, which are outstanding creations of our ancestors. In addition, Dawenkou culture, Hongshan Culture and Hemudu culture also have a certain number of painted pottery. Yangshao painted pottery is the most distinctive and intriguing of Banpo pottery pots unearthed in Xi 'an, and the specific meaning of this pattern has been under speculation. The most striking image of Miaodigou painted pottery is the picture of stork and stone axe painted on the pottery pot, which was unearthed in Yan Village, Linru, Henan Province. The birds, fish and axes depicted in the painting in a realistic way are said to represent the historical event of the merger of Stork and Fish. In addition, the Majiayao painted pottery basin unearthed in Datong, Qinghai Province depicts the scene of clan members dancing happily, which is a masterpiece of Neolithic painting art. It is summarized that pre-Qin painting belonged to slave society before the Spring and Autumn Period and entered feudal society after the Warring States Period. With the expansion of social division of labor, various handicrafts have been greatly developed, and the so-called "bronze civilization" has emerged. The needs of the ruling class have promoted the development of various categories of fine arts, and painting is no exception, and has made great progress. However, the remains of pre-Qin paintings we can see today are very few. It is speculated that the reason for this phenomenon is that most paintings are painted on perishable wood or cloth. In many Shang tombs, especially in Shang royal tombs, traces of painted cloth and silk have been found. It can be seen that it was very extensive to use pigments as pigments to draw objects at that time, and the juxtaposition of the two basic colors, black and red, formed a strong contrast. It is said that shiny bronzes and white pottery were often placed on lacquer paintings at that time, which was very ornamental. The remains of architectural murals have also been found in Yin Ruins, and the curly and symmetrical patterns drawn in red and black on white and gray walls are quite decorative. The Western Zhou Dynasty, the Spring and Autumn Period and the Warring States Period recorded the creation of temple murals, and Qu Yuan's masterpiece Tian Wen was made after seeing the murals in the Temple of the King of Chu. Fortunately, two silk paintings of the Warring States period were unearthed from the Chu Tomb in Changsha, both belonging to the 3rd century BC. Both paintings depict the portrait of the tomb owner. One is a woman with a flying dragon and phoenix painted on it. The other is a man with status, driving a dragon or a dragon boat. The profile portrait outlined with ink lines and symbolic animals are similarities between the two paintings, but the difference is that the artist's skills in Dragon Warrior are much more skilled. An Overview of Painting in Qin and Han Dynasties The Qin and Han Dynasties were a period of establishment and consolidation of China's unified multi-ethnic feudal country, and also an extremely important period of establishment and development of China's national artistic style. In 22 1 year BC, after Qin Shihuang unified China, a series of reforms in political, cultural and economic fields brought about great changes in society. In fact, artistic activities to publicize achievements and show kingship promoted the development of painting. The rulers of the Western Han Dynasty also attached importance to painting, because painting could serve their political propaganda and moral preaching. During the period of Emperor Wu of the Western Han Dynasty, Zhao Di and Xuan Di, painting became an effective way to reward meritorious deeds, and the palace murals made extraordinary achievements. In order to consolidate the world and control people's hearts, the Emperor of the Eastern Han Dynasty also advocated "harmony between man and nature" and "Fu Rui". Auspicious images and historical stories flaunting loyalty and filial piety became the common creative themes of painters. The custom of thick burial in Han dynasty makes it possible for us to see the painting relics at that time from the murals, stone reliefs and brick tombs discovered one after another today. The art of Qin and Han Dynasties, with its deep and heroic spirit, radiated dazzling brilliance in the art history of China.

■ Painting art

The painting art in the Qin and Han Dynasties generally includes palace and temple murals, tomb murals and silk paintings. ■ Murals of palaces and temples

During the Qin and Han dynasties, murals were widely painted in palace offices, but with the gradual disappearance of buildings, murals were almost lost. The mural relics of Xianyang Palace in Qin Dou, which were discovered in 1970s, gave us the first taste of the splendor of the palace painting in Qin Dynasty. In the rest of the corridor in Hall 3 of Qin Gong Ruins, a parade consisting of seven carriages was found, each drawn by four galloping horses. Another surviving mural shows a maid of honor. These images were painted directly on the wall without prior outline, which can be regarded as the earliest example of boneless traditional painting in China. Murals in the Western Han Dynasty were mainly created to flaunt the "Qingming" of official management. Wang Yanshou recorded the grand occasion of murals in the palace built by a vassal king at that time in Lu Lingguang Dian Fu. Emperor Xuan Di painted the mural of 1 1 hero portrait in Qilin Pavilion, which was the first time for later generations to paint a portrait of a hero. During the Eastern Han Dynasty, mural painting became more popular because of Ming Di's personal hobby. After he went to the Western Regions to pray for Buddha, he painted a picture of a thousand chariots circling the pagoda in the newly-built Baima Temple, which was the beginning of the mural painting of the Buddhist temple in China. ■ Tomb murals

The remains of murals in Qin tombs have not been found so far. But the discovery of murals in Han tombs began as early as the early 1920s. The Balitai hollow brick mural group in Luoyang is the first important discovery of tomb murals in the Western Han Dynasty. 193 1 year, the mural tomb of Yingchengzi in Jinxian County, Liaoning Province was cleared, which unveiled the murals of the Eastern Han Tomb. In the following decades, more than 40 mural tombs were discovered all over the country, which provided the most important information for exploring the development of painting art in Han Dynasty.

The most important mural tombs and tomb murals found in this period are: Buqianqiu Tomb Mural in Luoyang, Henan, Tomb No.61in Shaogou, Luoyang, and Sky Map in Xi 'an, Shaanxi; The mural of Xin Mang's tomb in Jinguyuan, Luoyang, belongs to the Xin Mang era; Belonging to the Eastern Han Dynasty, the mural painting of the Han tomb in Zaoyuan, Pinglu, Shanxi, the mural painting of the Han tomb in Anping, Hebei, the mural painting of the tomb in Wang Du/Kloc-0, Hebei, and the mural tomb discovered in Helinger, Inner Mongolia, etc. They depict celestial phenomena, five elements, immortal birds and beasts, some famous historical stories, sacrificial ceremonies for horses and chariots, portraits of buildings and tomb owners, etc. The meaning is complex, but most of them show the life of the tomb owner before his death, and wish him happiness after his death, hoping that the deceased can enjoy a rich life in the underground world created by the artist. ■ Silk paintings in Han Dynasty

There are many works painted on silk in Han dynasty, but after thousands of years, few have survived. At present, the most important discovery is the silk paintings of the Western Han Dynasty unearthed in Mawangdui, Changsha, Hunan Province and Jinque Mountain, Linyi, Shandong Province in the 1970s. The silk paintings unearthed from Mawangdui 1 Tomb have the most obscure meanings, and scholars' explanations are extremely diverse. However, it is generally believed that the upper half and the lower half of silk painting depict the heaven and the underworld respectively, while the middle two parts show the life scene of the late wife. The description of the tomb owner and various gods, birds and animals is extremely vivid, with smooth lines and solemn and elegant colors, which shows the excellent level of painting in the Western Han Dynasty. In addition, the importance of three silk paintings in Mawangdui Tomb No.3 can not be ignored. In addition to the tomb owner, they also described the contents of "guidance" and etiquette ceremony, which was very beautiful. The content of the silk painting of Jinque Mountain is similar to that of Mawangdui Han Tomb, with the moon, the moon and the fairy mountain above, and dragons, tigers and ghosts below. The middle part depicts the life of the tomb owner. The combination of "boneless" and sketch embodies the Han painting technique ■ Han stone relief.

Stone reliefs in Han Dynasty are rich and distinctive historical materials of Qin and Han Dynasties. Artists use knives instead of pens to create many beautiful images on the hard stone surface, which are used as building components to build and decorate tombs and stone tombs. Thousands of Han stone reliefs have been found in China. According to records, the stone reliefs sprouted in the Zhao and Xuan Dynasties in the Western Han Dynasty, developed in the Qing Dynasty, and further expanded in the Eastern Han Dynasty, mainly distributed in Shaanxi, Sichuan and its surrounding areas in Lu Yu.

The stone reliefs in the late Western Han Dynasty are represented by the Phoenix stone carving in Baozhai Mountain, Yishui, Shandong Province and the portrait of Lugong Dining Hall in Wenshang, Shandong Province. During the Xin Mang period, more than 30 portraits were carved in the tomb of Feng Junru in Tanghe, Henan Province, depicting real life and strange animals. The representative works of stone reliefs in the early years of the Eastern Han Dynasty are the Stone Temple in Xiaotang, Changqing, Shandong and the Stone Que in Nanwuyang. Stone reliefs in the last years of the Eastern Han Dynasty were most famous at Wushi Temple in Jiaxiang, Shandong Province. Stone niches have always been valued by stone engravers since the Song Dynasty. The Yuan Dynasty was submerged and buried underground, and it was not rediscovered until the Qing Dynasty. Among them, the stone reliefs in the Infinite Temple are the most exquisite, all of which are carved by the technique of cutting the ground and carving the yinxian line. Most of them are historical stories, immortals, rare birds and animals, and their skills are superb. The author is good at grasping the superb contradictions and conflicts in historical stories, explaining the specific environment with necessary scenery, and handling the echo relationship between characters well, such as Jing Ke stabbing the king of Qin. Unearthed from Tomb Yang Zishan 1 and now kept in Chongqing Museum, You Yan Tu is an outstanding representative of the Han Dynasty stone relief in Sichuan. ■ Qin and Han Dynasty portrait bricks

Portrait brick is a kind of architectural decoration component in Qin and Han Dynasties. From the Qin and Han Dynasties to the early Western Han Dynasty, it was mostly used to decorate the steps of palaces and halls. After the mid-Western Han Dynasty, it was mainly used to decorate tomb walls. The Eastern Han Dynasty was the heyday of portrait brick art.

The portrait bricks in Qin dynasty were made by two methods: die printing and carving, and their shapes were divided into two types: large hollow bricks and solid flat bricks. A "hollow brick with portraits of guards, banquets and hunting" unearthed from Lintong in Shaanxi Provincial Museum is a masterpiece of existing hollow bricks in Qin Dynasty. Western Han Dynasty portrait brick is represented by the products unearthed in Luoyang, Henan Province, and is famous for its simplicity, rigidity and vivid image. During the Eastern Han Dynasty, the most portrait bricks were unearthed in Henan and Sichuan provinces. The highest artistic accomplishment is the solid brick of the portrait of the late Eastern Han Dynasty unearthed in Chengdu, Sichuan. The picture is printed at one time and the composition is complete. Many real-life scenes are shown, and the representative works are "Yishe Harvest Portrait Brick".

A survey of painting in the Three Kingdoms, Jin, Southern and Northern Dynasties, Sui and Tang Dynasties

The history of the Three Kingdoms, Wei, Jin, Southern and Northern Dynasties is a process of unity and division. First, Wei, Shu and Wu split, and then Sima Jiatong arrived in the Western Jin Dynasty. However, years of wars in sixteen countries have brought China into the era of division again. In the 5th century, the Northern Dynasty formed by the unification and successive division of the Northern Wei Dynasty confronted the Southern Dynasty replaced by Song, Qi, Liang and Chen. The unstable political situation and the chaotic situation have brought about a general economic recession, but extraordinary changes have taken place in the ideological field. At this time, the ruling class has long been dominated by Confucianism, and the folk customs have also been pitched. The chaotic society has created an excellent opportunity for the spread and spread of religion, and all sectors of society have more urgent needs and wider acceptance of Buddhism. As one of the images of social ideology, the art of calligraphy and painting has also undergone strong changes at this time. The figure painting in painting has made outstanding development, but the description of other objects is still in a very immature stage.

In the history of painting development in China, Sui and Tang Dynasties is another important period after Wei, Jin, Southern and Northern Dynasties. Painting and calligraphy in the Sui Dynasty, connecting the past with the future, is brewing the emergence of new styles. In the early Tang Dynasty, calligraphy and painting inherited the fashion of Sui Dynasty and advocated statutes, but they have shown different faces. This transformation was completed in the prosperous Tang Dynasty. Painters from various disciplines emerge in an endless stream, and their styles tend to be bodybuilding and flying. The figure paintings (including religious paintings) and landscape paintings represented by Wu Daozi show the outstanding achievements of painting in the Tang Dynasty. New changes have taken place in painting in the middle and late Tang Dynasty, and its influence can still be reflected until the Five Dynasties. Overview of Painting in Wei, Jin, Southern and Northern Dynasties The artistic changes in Wei, Jin, Southern and Northern Dynasties were more reflected in the art of calligraphy, and regular script really appeared. Although the change of painting art is not as remarkable as calligraphy, the change of social atmosphere and the rise of Buddhist worship make the original simple and clear painting more complicated. Cao Buxing founded Buddhist painting, and his disciple Wei Xie developed on this basis. As one of the symbols of the maturity of painting, Gu Kaizhi, Zhang Sengyou and other famous painters have appeared in the south, and there are also, Cao, Tian Sangliang and so on in the north. The identity of the painter gradually entered the writing of history books and began to play an increasingly important role in social life.

During this period, figure painting (including Buddhist figure painting) and animal painting developed most prominently, while other disciplines of China painting were far from mature. The landscape in Luoshen Fu handed down from the Eastern Jin Dynasty was only used as the background for the story painting of characters, and the gradual independence of landscape painting did not tend to be completed until the late Southern and Northern Dynasties. This is because the main task of painting in this period is to serve the church and the country, and "knowledge depends on the drawing of the mirror". This is also a major feature of painting at that time.