What is literati painting? Try to give examples (painters and masterpieces)

What is literati painting

[ Source: Contemporary Chinese Painters and Calligraphers | Time:2008-3-17 ]

Literati painting is a painting with literati interest, and outside the painting reveals the literati thought of painting. It is not juxtaposed with the three disciplines of Chinese painting: landscape, birds and flowers, and figures, nor does it distinguish itself from work and writing in terms of technique. He is the intersection of landscape, bird and flower, and figure in the broad scope of Chinese painting. Chen Hengke explains literati painting by saying that "we do not examine the artistic efforts in the painting, but we must see many literati's feelings outside the painting". This, the so-called literati painting or the so-called literati painting, know the painting for the thing. It is also the spirit, the thought, the activity, not the instrument, not the mere thing". It explains the literary, philosophical and lyrical nature of literati painting. In traditional painting, its unique "elegance" distinguishes it from artisanal painting and courtyard painting and makes it unique.

The origin of literati painting can be traced back to the Han Dynasty, when Zhang Heng and Cai Yong were famous for their paintings. Although the paintings were not handed down to the world, they were recorded in the canonical books. During the Wei Jin and North and South Dynasties, Yao most " do not learn to be a man, just to entertain themselves " has become the center of the literati painting argument. It became the central theme of literati painting, and was honored by all generations of literati as the purpose of painting. Zong Bing used landscapes to realize his ambition " to clarify his mind and observe the Way, and to lie down to swim in it". Fully embodies the mentality of literati self-indulgence. Poetry was prevalent in the Tang Dynasty, and the great poet Wang Wei used poetry to paint. Later generations regarded him as the originator of literati painting. His paintings became the model for later literati painters. Poetry in painting, painting in poetry. It has become a trend that has been passed down from generation to generation.

Many great literati emerged during the Northern and Southern Song dynasties, such as Su Shi, Huang Tingjian, and Mi Fu's father and son, who practiced and developed their ink and wash techniques based on Wang Wei's Literati School of Painting by incorporating calligraphy into their paintings. Deng Chun's theories such as "Painting is the ultimate of literature" have tightly integrated "literature" and "painting", and are the basis of the low-cheap nai na hiss? Toni Jia? Can bragging rights be realized? Can you brag about the bow of your company's polynesians4? Can the Polycarbonates be protected? What is the standard?

The concept of "literati painting" has brought literati painting a step closer to maturity.

Entering the Yuan Dynasty, literati painting entered a period of prosperity. The Yuan rulers favored the military over the literati, which led to more literati painting. The most famous literati painters were Huang Gongwang, Wang Meng, Ni Zan and Wu Zhen. The most famous literati painters were Huang Gongwang, Wang Meng, Ni Zan, and Wu Zhen, known later as the Four Families of the Yuan Dynasty. Their paintings mostly showed "seclusion", "high seclusion", "small seclusion", "fishing seclusion", with the attitude of "becoming immortal by leaving the world". Their paintings mostly depicted "seclusion", "high seclusion", "small seclusion" and "fishing seclusion", and expressed the loneliness and emptiness of the scholarly class with the attitude of "becoming immortal". Artistically, they advocate "elegance", "plainness and naivety", and "innocence and obscurity"; theoretically, they advocate "easy brushwork", "not seeking resemblance", and "not seeking to be similar". Artistically, they advocated "elegance", "plainness and naivety", and "innocence and obscurity"; theoretically, they advocated "easy brushwork", "not looking for resemblance", and "writing in the heart". This period of poetry and letters of seal also gradually and formally into the picture. Not only become part of the layout. And more directly express the author's voice. Poetry, calligraphy, painting, printing began to become one, poetry and painting are linked, poetry is intangible painting, painting is a tangible poem, poetry in the painting complement each other, which also marks the perfection of the form of literati painting.

Pre-Ming Dynasty literati painting in the inheritance of the development period, the emergence of the " Wu school of painting " and " Zhejiang school ", Shen Zhou, Wen Zhengming, Dai Jin, etc. is an important representative of this period. Until the middle and late Ming Dynasty as a theorist, painter Dong Qichang according to Su Shi's " scholar painting " theory further proposed painting north and south of the clan and literati painting theory, literati painting's name has been formally proposed and used. At the same time, the status of literati painting as a southern sect was established and even became the highest understanding of the concept of Chinese painting.

The Qing Dynasty saw the heyday of literati painting, with the emergence of a number of top literati painters, most notably the "Four Monks", and among the "Four Monks", Bada and Shitao were the most prominent. Being a remnant of the late Ming Dynasty, they sent the pain of the country's destruction in painting and calligraphy, Bada's brushwork is wanton, indulgent, concise, condensed, exaggerated shape, cold and silent mood. Shi Tao efforts to observe nature, despising the Chen Chen, step by step with the painters, advocating that "ink and brush when the times", "method of self-establishment", life-oriented "searching for all the strange peaks in the draft". His ideas on the later generation of " Yangzhou school of painting ", " Yangzhou eight monsters ", Xugu, Zhao Zhiqian, Ren Bonian, Wu Changshuo and so on have played a profound influence.

The subject matter of the literati paintings of plum, orchid, bamboo, chrysanthemum, mountains, fishermen and hermits and so on, such as contemporary literati painters Zhang Shizeng's rain bamboo poem said: the west wind rattling Cuitao, rain bamboo swaying in the tide. Roots near the clear stream of this gentleman's virtue, false heart holding section from the noble. Literati by depicting the natural scenery as far as the eye to write the feelings of the soul. Their eyes of the plum, orchids, bamboo, chrysanthemums, mountains, fishermen and hermits, is no longer purely natural scenery but the embodiment of the gentleman. Plum, cold fight snow, jade bone ice muscle, lonely and self-appreciation; orchid, elegant fragrance, grass self-pity, self-cleansing; bamboo, false heart strong section, straight pole Lingyun, high winds and bright; chrysanthemum frost and glory, lonely and proud bone; landscape, fishing hermit is not to ask about the world, indifferent to fame and fortune. Through this, the literati express their inner or heroic or depressed mood. Expression of their own elegance, public and private, because the country because of the family. Tao Qian's " picking chrysanthemums under the east fence, leisurely between the South Mountain "; Su Shi made straight bamboo said " bamboo born when it was born by section "; Wu Zhen self-titled Plum Blossom Taoist, said the plum wife and crane and end of the old age; Zheng Sishao for the loss of the country lost the land for the dew root orchid ... ... Although all are swayed by Confucianism and comforted by Taoist and interpretive thought, there is no lack of literate romance. Literati paintings emphasize meaning. Du Fu said " the intention of the craftsman in the miserable management " craftsmanship, can be recalled. Ni praised that "the painters but the intention of the brush sketchy, do not want to look like, chat to amuse themselves, write the chest of escape ear". Literati paintings emphasize simplicity, and anything that has nothing to do with it can be simplified, even to the point of "zero", which is both white and empty. "Counting white as black", empty, white is for "more", in order to "enough", in order to meet, blank can give a person endless far-reaching and long feeling, like "No sound is better than sound at this time". Literati paintings emphasize the book, Zhang Yanyuan in the "Record of Famous Paintings Throughout the Ages" said that "the bones of the air and the shape are all based on the idea and return to the brush, so those who are able to write are all able to paint". Zhao Mengfu poem " stone such as flying white wood such as seal script, write bamboo also need eight law through, if someone can also know this, we must know that the painting and calligraphy originally the same ". Ke Jiusi on bamboo painting, "writing bamboo poles with seal script, branches with cursive calligraphy, writing leaves with the eight-part method or Lugong skimming method, wood and stone with folding hairpin strands, the legacy of the House Leak marks". Literati paintings emphasize ink, using subtle variations of wet and dry ink, thick and thick, pale and moist, and using simple ink colors to summarize the splendor of nature. These unique strong subjective consciousness expressed in the paintings are the essence of literati painting.