What are the main periods of the development of China landscape painting?

Wei, Jin, Southern and Northern Dynasties gradually developed, Sui and Tang Dynasties became independent, and landscape painting flourished in Northern Song Dynasty.

The Wei, Jin, Southern and Northern Dynasties gradually developed, but it was still attached to figure painting, which was mostly used as a background. Independence began in Sui and Tang Dynasties, such as Zhan Ziqian's colorful landscape, Li Sixun's Jinbi landscape, Wang Wei's ink landscape and Wang Qia's splash-ink landscape.

During the Five Dynasties and the Northern Song Dynasty, many authors appeared in landscape painting, such as Hao Jing, Guan Tong, Li Cheng, Dong Yuan, Ju Ran, Fan Kuan, Xu Daoning, Yan Wengui, Song Di, Wang Shen, Mi Fei, Mi Youren, etc., and green landscape painting reached a peak. Since then, it has become a major painting theme of Chinese painting.

Landscape painting in Yuan Dynasty tends to be freehand brushwork, taking virtual as reality, focusing on the charm of pen and ink, and creating a new style; Ming and Qing dynasties and modern times, continuous development, a new look. Pay attention to the professional position and artistic conception in the performance. The traditional methods are ink painting, turquoise, resplendent, boneless, light red, light color and so on.

Through the efforts of Wang Wei, Zhang and others, the painting theory and method of landscape painting have been improved day by day, and the composition has gradually formed the face of China landscape painting. Hao Jing and Guan Tong of the Five Dynasties have new innovations and first-class stereotypes. A new situation has emerged. In the Song Dynasty, Dong Yuan, Fan Kuan and Li Cheng stood in an unprecedented position. Landscape painting has reached an almost perfect state.

Paintings depicting the natural scenery of mountains and rivers are called landscape paintings. Wei, Jin, Southern and Northern Dynasties gradually developed, but still attached to figure painting, mostly as a background. Sui and Tang Dynasties began to move towards independence, such as Zhan Ziqian's colorful landscape, Li Sixun's Jinbi landscape, Wang Wei's ink landscape and Wang Qia's splash-ink landscape.

During the Five Dynasties and the Northern Song Dynasty, landscape painting flourished, and the ink and wash landscapes of Hao Jing, Mi Fei and Mi Youren, and the green landscapes of Wang Ximeng and Zhao Boju reached their peak, becoming a major painting theme in the field of Chinese painting.

In Song Dynasty, landscape painting tended to be natural, paying attention to "truth" and "reality" and advocating the realistic style of landscape painting. More use of silk, not only the outline is meticulous, the description is rigorous, but also the picture is rendered layer by layer with ink and wash, showing a dignified and quiet beauty.

Landscape painting in Song Dynasty presented an unprecedented exquisite, rich and realistic painting style, and painting themes and styles emerged in an endless stream during this period. In the Song Dynasty, many royal nobles were particularly fond of landscape painting, which was clearly reflected in the screens they used.

Landscape painting in Yuan Dynasty tends to be freehand, replacing reality with emptiness, focusing on the charm of pen and ink and creating a new style. With the development of Ming Dynasty and modern times, Dong Qichang and the "Four Kings" in the early Qing Dynasty made great contributions to the theory of landscape painting and the stylization of painting techniques.

The formation and establishment of landscape painting is the infiltration of Wei-Jin demeanor, the inevitability of advocating nature, the awakening of literati's individual consciousness and people's aesthetic perception of natural landscape. Advocating nature is an important embodiment of Wei-Jin demeanor. Since the Jin Dynasty, Gu Kaizhi wrote about Lushan Mountain? After painting, landscape painting was formed and established, and it became an important and unique expression of "landscape culture".

China landscape painting has a long history. It shows the rich and colorful natural scenery and embodies the aesthetic consciousness of China people. From the germination of landscape painting to the maturity of Sui, Tang and Five Dynasties, to the prosperity of Song Dynasty and the climax of Yuan Dynasty, with the development of commodity economy in Ming and Qing Dynasties, landscape painting went to glory.

During the Wei, Jin, Southern and Northern Dynasties, China society was divided into official posts and hermits, forming a hermit class. Hermits are tired of complicated things, return to nature, go deep into mountains and rivers, and pursue "infinity between heaven and man" and "harmony between heaven and man" through natural mountains and rivers.

Zong Bing played a great role in making landscape painting an independent painting discipline. Zong Bing's Preface to Painting Landscape and Wang Wei's Theory of Painting Inscription are valuable landscape painting theories in early landscape painting.

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Aesthetics of China s Landscape Paintings;

First of all, China's landscape painting is characterized by scenery and emotion, which is the landscape painting art that the author shows by integrating the beauty of nature into his own feelings.

China's art does not overemphasize sensory stimulation and rational analysis (ideas) in the relationship between subjective and objective aesthetics, but also emphasizes the harmony and unity of subjective and objective. Aesthetic requirements are related to national character, focusing on richness, honesty, broadmindedness, gentleness, harmony, virtue and kindness ... The aesthetic way is more accustomed to close reading and subtle experience.

For example, in life, one mouthful of drinking tea is for swallowing, three for taste, one for taste, two for meaning and three for the environment. The realm of drinking is euphoria, joy, excitement, longing and poetry. The Eight Immortals of Drinking in Du Fu's works is a kind of realm. Drinking tea has developed from leisurely tea tasting to kung fu tea, thus the atmosphere has developed into a tea ceremony, which is also a kind of realm.

Looking at paintings should be both pleasing to the eye and pleasing to the eye, that is, as the ancients said, "taste its taste, understand its meaning and understand its ambition." Huang Youyun: "The mountains and rivers are picturesque, and the inner beauty is quiet." Inner beauty is atmosphere, temperament, breath, momentum and charm, including the spirit of pen and ink, and of course it refers to the educational significance that conforms to the law, conforms to ethics and exerts a subtle influence.

Landscape painting is from scenery to works, from creation to appreciation. It has the characteristics of being fascinated by the scenery and empathizing with it. Without the author's touch, there would be no reader's experience, appreciation and feeling. As a landscape painter, you should have the spirit of a tour guide to lead the viewers to browse, observe, be happy, edify and relax.

The harmony of the soul, in short: "Chang Shen". This was said by Zong Bing, a landscape painter in the fifth century. It is inconvenient to move in old age. He is known as "the spirit of freedom" because he faces landscape paintings all day long, "lies and swims" and indulges in landscape nature.

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