What are the characteristics of figure painting in Ming and Qing dynasties

Characteristics of figure painting of Ming and Qing dynasties

Ming and Qing dynasties, with the landscape, bird and flower painting's mainstream position is becoming more and more obvious, in the history of very accomplished figure painters can be said to be very few. Only at the time of the Ming and Qing dynasties, through the Ming and Qing dynasties, the two social life of the great painter Chen Hongshou, with its independent and strong character and action, and make the traditional Chinese portrait painting in the painting world to put out the color.

The more famous figure painters of the Qing dynasty are Xu Zhang, Shangguan Zhou, Huang Shen, Hua, Luo Hire, Gao Qipei, Ding Gao, Ding Yicheng, change Qi, Su Liupeng, Su Changchun, Fei Danxu and so on. At the end of the Qing Dynasty, there were ? San Ren? , Hu Xigui, Qian Hui'an and so on.

Traditional Characteristics of Figure Painting

Chinese figure painters advocate: write God with form, and form and God. Closely grasp the eyes, gestures, posture and important details conducive to God, emphasizing the separation of primary and secondary, there are detailed and abbreviated, detailed in the facial gestures to convey the feelings and abbreviated in the clothing, detailed in the activities of the characters and their look echoed and abbreviated in the environmental depictions. In the relationship between the activities of the characters and the environment, lyrical works often create an atmosphere to accentuate the characters' moods, while narrative works are especially good at dividing the space into environmental scenery or indoor furnishings in horizontal or scroll compositions, adopting the method of repeating the main characters and recounting the events that happened in the course of time one by one to break through the limitations of unified time and space. The brush and ink techniques and techniques used in figure painting, in the works of brushwork and color, white drawing and small writing, pay more attention to the fundamental role of the brushwork, for which eighteen strokes were created. On the one hand, brushwork or depiction is subordinate to the structural texture, volume and look of the image, on the other hand, it also conveys the author's feelings, and at the same time, it is also used to reflect the author's personal style. In the figure painting, pen and ink are used for each other, ink in the pen, ink in the pen, a pen on paper, not only to the image of God, but also to express the feelings and ideas, but also to show personal style, the degree of difficulty is far better than landscape painting. Portraits of people known as Xingle Tu, always put the characters in the most easy to show their temperament and character of a particular scene, has different characteristics from the general portrait painting. In the use of color and the combination of poetry, calligraphy, painting and printing, figure painting has the characteristics of general Chinese painting.

In traditional Chinese painting, the object of portrait painting and figure painting is a person, and both use the objective character as the object of observation and creative material. However, when transformed into an artistic image, portrait painting has more realistic and specific requirements than figure painting. First of all, portraits seek authenticity. Portrait painting must depict the objective existence of . Specific, specific, a particular person, is in real life or history of the actual existence of real people. Figure painting, on the other hand, can be generalized, synthesized or even imagined to create a non-specific, typified or even fictional character image. Ancient Chinese portrait painters attached great importance to? The real person? In ancient times, they called portraits as? Portrait? and Pictorial? and "photo", "photo", "photo", "photo", "photo", and "photo". Shadow writing. Many theories on portrait painting also take observation and portrayal of real people as the starting point of creation. For example, in the Eastern Jin Dynasty, Gu Kaizhi? Gu Kaizhi? The theory of the real pair, the theory of the Southern Qi? s theory, the theory of the Southern Qi? Xie He? The concept of "responding to the object and resembling the shape". Concepts, Song? Su Shi? Shadows under the lamp? Yuan Shi? Wang Duo? The secret of writing portraits? Ching? Jiang Ji? Taking God from a Distance? method. Portraits of social functions, the role of the main writing for real people to leave a picture, reproduce the objective reality, to play the cognitive function, at the same time as a commemoration, worship, and forensic images, to achieve the purpose of indoctrination. In the Tang Dynasty, Zhang Yanyuan wrote in his book "Famous Artists of All Ages". Zhang Yanyuan in the "record of famous paintings through the ages" pointed out that: ? With loyalty and filial piety, all on the platform. There are martyrdom and honor, all on the Lin Ge. Seeing good enough to warn against evil, seeing evil enough to think of the wise. Remaining in the description, style show the great virtue of the matter. With its successes and failures, in order to pass on the trail of the past. Portrait painting requirements? The shape is very similar.

Ming and Qing dynasty landscape painting

Ming and Qing dynasty landscape painting, in addition to a few painters, most of the ancient for the ability to copy, highlighting the pen and ink interest, such as the early Ming dynasty painting world to revere the Southern Song dynasty Academy of Painting style, Zhe faction is dominated. However, the paintings afterward were still a breakthrough. They emphasized the subjective aesthetic feeling.

Integration of the strengths of each family, flexible and varied techniques, the composition no longer follow the traditional format from 揖讓, free arrangement, emphasizing the interest of life. In the middle of the Ming Dynasty, the four Wu family? Shen Zhou, Wen Zhengming, Tang Yin, Qiu Ying's landscape painting achievements. Why are they called Wu Men? Because the four of them were all from Suzhou, which is also known as? Wu Men?

Shen Zhou fused the previous generation of masters such as Dong Yuan, Ju Ran, Mi Fu, Wu Zhen, Wang Meng, etc., to create a variety of styles of landscape painting, some fine, some simple, some magnificent, some elegant. There are panoramic mountains and rivers, and there are also idyllic scenes. The technique is simple and simple, and very rich in life meaning. His landscape paintings of the heirloom works are "Lushan high map", "Cangzhou interesting map scroll" and so on. Wen Zhengming was Shen Zhou's student, of course, also for the same hometown. He studied under Shen Zhou, and was competent in poetry, calligraphy and painting. His landscape paintings have two specifications: brushwork and freehand, and freehand ink and watercolor landscapes, which are free and drenched with ink. The brushwork landscapes are meticulous, but not stereotyped, with a typical bookish and ? Literati? Interesting. Tang Yin's paintings were based on the works of Li Cheng, Fan Kuan and the four Southern Song masters, as well as the methods of the Yuan masters, and he combined the strengths of all the masters to form his own style. The works are grand, rigorous, both somber and elegant, both strange and craggy and beautiful, both thick and rich in charm characteristics. Qiu Ying was a painter by trade, not a literati. Literati? But he was artistically influenced by both literati painters and folk painters, so his paintings to integrate these two aspects, but also the appreciation of the literati, with a kind of elegance and vulgarity **** appreciation of the artistic interest.

After the four Wu family, the Ming dynasty landscape painting world also began to faction, like the two Song painting world as lively. The larger schools are Huating school, Su Song school and Yunmai school, which Huating school has the greatest influence. And these three schools because of the same area (Songjiang), and aesthetic ideas and painting style is basically the same, people will also be three together known as the Songjiang School? Songjiang School?

The landscape painting world of the late Ming Dynasty was full of schools, and in the Qing Dynasty, it was also very distinctive. The emergence of the so-called? orthodox school? and? Innovation? and has been around the whole Qing dynasty painting style.

The Qing Dynasty was an important period in the history of Chinese art, and there were new changes in artistic thought, creative attitude, and artistic style within the literati system, which also followed the changes in political thought and culture at that time. As the rulers of the Qing Dynasty implemented closed-door and cultural authoritarian policies, and tried hard to consolidate the small peasant economy, suppressing commodity production, so that the capitalist factors and in the art of the mid-Ming period since the growth of the liberation of the traditional trend of thought, lost the breeding ground for the development of a comprehensive restorationism and asceticism prevailed for a while.

Against this background, retrogression and mutation also began to appear in the field of painting. This was the case with the six great masters of the early Qing dynasty. The Six Great Masters of the Early Qing Dynasty? Represented by the six great masters of the early Qing Dynasty, they emphasized on the art of? They emphasized on the art of "daily and nightly copying". They emphasized on the art of copying day and night. like the ancients, detached from reality and obsessed with the previous line of brushwork and ink techniques. , detached from reality, obsessed with the line of the former brush and ink techniques. Mimicry has become a major tendency of their landscape painting. This kind of art advocates and art style can cater to the Qing dynasty's ideological restraint policy as well as the aesthetic tastes of the scholar, very much supported and appreciated by the powers that be, is regarded as the so-called? The orthodox school?

The six great masters of the early Qing dynasty were headed by Wang Shimin, and the rest were Wang Jian, Wang Album, Wang Yuanqi, Wu Li and Yun Shouping, and these five people seem to be related to Yu Shimin, Wang Album, Wu Li, and Yun Shouping are students of Wang Shimin, and Wang Jian is his hometown and relative, Wang Yuanqi and his grandson, and it may be that such a family relationship has caused a close combination of their artistic paths and artistic styles. At the same time, Wang Shimin and Wang Jian, Wang Album, Wang Yuanqi in the painting world is also known as ? The Four Kings. All of them advocated copying ancient paintings, and mostly used the results of copying to create, with extraordinary brushwork and extremely deep skills, so that landscape painting was advanced a big step in technical skills. But later Yun Shouping gave up landscape and took a different approach, specializing in flowers, which was also unique and famous for a while.

When the Six Great Masters represented the ? The orthodox school? Towards the road of retroism, a group of national consciousness and creative spirit of the Han intellectuals painters, began to undertake after the middle of the Ming Dynasty after the emergence of a breakthrough in the traditional trend of liberation, in the art of dare to break and dare to stand, emphasizing the liberation of individuality, and advocate? Borrowing from the past to open up the present? and opposed to the mud of antiquity, utilizing and transforming traditional forms of painting to express their true feelings of life. In the history of painting, these people are generally referred to as? Innovation School The representative of this school is the famous "Four Famous Monks" of the early Qing Dynasty. Four Famous Monks? and the Eight Masters of Jinling. The Eight Famous Monks of Jinling.

? Four famous monks? refers to Shi Tao (Yuan Ji), Shi Xi (Kun Ru), Hong Ren and Bada Shanren. All four of them are characterized by hatred of the Manchu rule and cut hair as a monk, to painting to avoid the belly of the mountains and forests, express anger and relieve worry. They are opposed to copying ancient, advocating natural creation. Exude true feelings. But their paintings, and each has its own characteristics: Shi Tao's paintings, strange and unrestrained; Shixi's paintings, Cang Gu Chunya; Hongren's paintings, high and simple and sparse; Bada Shanren's paintings, it is brief and concise. Their style of painting on the later dry bird and flower painting? Yangzhou Eight Monsters? have a greater impact.