Song Dynasty was "the first Renaissance in China". What's so good about painting in Song Dynasty?

The aesthetic characteristics of Song Dynasty: white walls and black tiles, natural colors of logs, monochromatic glazed porcelain and pale ink and wash. Song painting is rational, simple and not showy, but exquisite, forming an elegant fashion that has influenced so far. "They are no longer entangled in depicting a tree or a stone like painters of past dynasties, but express a unified and true realm with pen and ink." Literati painting rose in the middle and late Northern Song Dynasty. Su Shi, Wen Tong, Huang Tingjian, Li and Mi Fei, with Wang Wei and Gu Kaizhi as pioneers, improvise and pursue the realm of getting carried away. Their technology is comfortable and their spirit is retro. In particular, on the basis of artistic achievements in calligraphy, painting and poetry, Song Huizong and Evonne established the standard form of "Chinese painting with poetry and painting". It is from them that "painting has opened up a similar function of expressing feelings and entertaining" (The Illustrated History of China's Painting). French sinologist Cheyenne said that the Song Dynasty was "the first Renaissance in China" (the social history of China). Historian Chen Ye once said, "The culture of the Chinese nation has developed for thousands of years and reached its peak in Tianshui" (preface to Deng Guangming's Textual Research on Song History). In 2000, American Life magazine selected "2000 100". In Song Dynasty, two people were selected: Zhu Pai ranked 45th (first in thought) and Fan Kuan ranked 59th (last in form and quality). Wu Zuoren: "In the outlook on life, we should" have no self "in the ideological realm and" have me "in the artistic expression and artistic realm. When we talk about "having me" in art, it is not as unrealistic or even natural as western modernism. When we say "having me", we are not divorced from reality and the masses. We should create our own feelings through our own art and let others feel something. " Chinese painting has always attached importance to charm, artistic conception and style. Like China's poems, it depends on the mind, knowledge and cultivation. If the reader reads a painting and a poem, he can also improve and gain something in his mind and study, which plays a very good role. Good paintings and poems can free people from the shackles of fame and fortune. -Pan Tianshou ". Shi Shouqian, an art history researcher, lamented that "generations of young people are getting farther and farther away from the tradition of China". As the saying goes: everyone is drunk and I wake up alone-

The core value of Chinese painting is the ultimate embodiment of cultural value: China and even the eastern world's views on the nature of the universe, attitudes towards social personnel, and the pursuit of beauty and eternity have all been expressed in China's paintings and calligraphy, and have been recognized by millions of China people, oriental friends and friends all over the world through them. The inscriptions, calligraphy books, mysterious, brilliant and elegant paintings of the past dynasties are the essence of our nation-painting and calligraphy artists (including folk artists with unknown surnames) record their mental journey with the subject and object world in an aesthetic way. This antithesis sometimes reaches the height of philosophy, that is, between the vertical and horizontal strokes of "if you sit, if you walk, if you fly, if you move", and in the brushwork of "vigorous and ethereal", it contains feelings and also embodies "Tao", showing the experience of personality and even the life universe. She is so rich and long, exquisite and wonderful! To understand and feel the mysterious pottery painting, the hideous bronze decoration, the silent Buddha statue, the literati painting outside the pen and ink, and the highly abstract and flowing calligraphy stippling structure all require certain knowledge and cultivation. The author thinks that it is difficult to embody the connotation of Chinese painting from the general technique performance (Chinese painting is the essence and artistic treasure of China's excellent traditional culture).

China culture will unify the world (predicted by Toynbee)! Picasso: There is no art in the west, but China is the first.

The development of Chinese painting is clear and orderly: First of all, as early as 7,000 years ago, the ancient awakening was recorded in the form of patterns. Hemudu culture in Neolithic age has expressed the connotation of conceptual culture through line engraving. The origin of settled farming civilization not only makes people realize the beauty of tools, but also the beauty of metaphysics above tools. Art is not only an imagination to conquer nature, but also a symbol to conquer nature. From the very beginning, ancient times and nature used artistic methods to interpret life, the discovery of logic and the appreciation of art, interpreted people's eyes, and made a clear picture of China's schema of harmony between man and nature from the chaos. Since Yangshao culture, the relationship between man and nature has been symbolic. -The relationship between man and nature, and between man and society is constantly deepening and developing with the artistic viewpoint. Most works are created for the purpose of religion and witchcraft, not for the needs of aesthetics and appreciation. China ancestors worshipped nature, blood and fire, and made "China Red" by diluting and mixing ochre red hematite powder with animal fat. Red is the favorite color of the Chinese nation, and even becomes the cultural totem and spiritual conversion of China people.

1 China ancestors worshipped nature, blood and fire, and made "China Red" by diluting and mixing ochre red hematite powder with animal fat; Red is the favorite color of the Chinese nation, and even becomes the cultural totem and spiritual conversion of China people.

2. Take Gu Kaizhi's A Woman's History and Liang's A Gong Tu as examples: From then on, the style of "Chinese Painting Inscription" integrating painting and calligraphy was created.

Taking Gu Kaizhi's A Woman's History and Liang's A Gong Tu as examples, the style of "Chinese Painting Inscription and Postscript" integrating calligraphy and painting was created.

Thirdly, compared with western landscape painting, China landscape painting is at least 1000 years earlier. In fact, it is a history of China's thoughts. Wang Wei, revered by later generations as the ancestor of literati painting ("the ancestor of Nanzong"), initiated the bud of "the unity of poetry and painting-the poetry of Chinese painting". There is a story in Meng Qian Bitan: According to legend, Wang Wei, a poet and painter in the Tang Dynasty, was very excited when he got a picture with music from a guest. Wang Wei said that this is the first paragraph of Cai Yu's third painting. The guest didn't believe it, so he invited a musician to play the dance music, which was convincing. Therefore, the picture can only show an instantaneous performance, that is, "only (only) one sound can be drawn" rather than a dance performance. Xu Ning, a poet in the Tang Dynasty, wrote in his paintings that "one water is lonely and green, and two cliffs are blue and white; The first two sentences of the poem "It's difficult to make three sounds in a tree" are about the scenery in the painting, and the last two sentences are the poet's exclamation: the painter tried his best to draw three consecutive ape sounds, because he could only draw one sound, but the sad and touching ape sound could not be shown in the picture. The shortcoming of this painting is also … and poetry (words and poems) can express time, space, environment, music, dance and so on. , and describes the joy, anger, sorrow, joy and everything in the world-all-inclusive; This just makes up for the lack of painting. )

Wang Wei, revered by later generations as the ancestor of literati painting ("the ancestor of Nanzong"), initiated the germination of "the unity of poetry and painting-the poetic meaning of Chinese painting".

Fourth, Song Huizong Evonne created the "First Poetry and Painting" works: The fundamental difference between literati painting and craftsman painting lies in the profound knowledge of literati painters and the profound traditional Chinese culture-the perfect combination of poetry, calligraphy, painting and printing. The golden rooster painted in Evonne's Lotus Golden Rooster Picture flies over the scattered branches of hibiscus, twisting his neck and looking back eagerly at a pair of lingering colorful butterflies dancing. Draw a poem:? Autumn is full of frost, and I am crowned with golden feathers. All five virtues are known, and comfort is better than embarrassment. (Interpretation: The beautiful scenery in autumn is strong, "diluting" the golden pheasant in Leng Yan and standing on the branch; Gentleman's behavior, such as the five virtues of Confucianism: "gentleness, kindness, courtesy, thrift and concession"; Then a comfortable and relaxed life on earth should be better than a carefree life! ) "Its poetry, overflowing in the picture, makes people daydream infinitely; The object is beautiful and the expression is very forced. The golden pheasant's demeanor, bright feathers and beautiful singing are all vivid pens. The pitch of hibiscus leaves is very subtle, each leaf is not heavy, each leaf has its own posture, but the light and heavy texture is intriguing. Several chrysanthemums are inserted obliquely at the bottom of the picture, which increases the complexity of composition, renders the breath of autumn, sets off the high position of the whole picture and creates the momentum of the whole picture. Hibiscus pricks obliquely upward, which makes the viewer focus on the flying butterfly. Skillful practice with a pen, careful coloring with double hooks and natural division of space are all enough to represent the level of college painting in Xuanhe of the Northern Song Dynasty. Evonne's aesthetic thought pays attention to poetic aftertaste, observes things in detail, and vivid and incisive realism is shown in his paintings. The key to distinguish the elegance and craftsmanship of meticulous painting lies in the internal cultivation, the dynamic rhythm and poetic composition of brush strokes; Look at this picture of the golden pheasant with hibiscus. What Zhao has done is really beautiful and elegant, poetic and picturesque, and all of them are excellent. Note: "Fu"-Fu and gull, generally referring to waterfowl.

4. Song Huizong Evonne created The First Poetry and Painting: The fundamental difference between literati painting and craftsman painting lies in the profound knowledge of literati painters and the perfect combination of poetry, calligraphy, painting and printing.

5. The painting in Yuan Dynasty developed further on the basis of inheriting the painting traditions of Tang, Five Dynasties and Song Dynasty, with the popularity of "literati painting" as a symbol. The literariness of painting and the emphasis on pen and ink surpassed those of previous dynasties, and the interest in calligraphy further extended to the expression and appreciation of painting, and poetry, calligraphy and painting were further combined, which reflected another creative development of China's painting. Among them, "Xing Wu Eight Shuai" and "Yuan Sijia" are the most prominent.

5 Liao Jin Xixia Yuan Painting Overview Zhao Mengfu

Sixth, Paintings of Ming Dynasty inherited the essence of the Song and Yuan Dynasties and developed it. Especially with the gradual stability of social politics and economy, famous artists and schools centered on this area have emerged in the art of painting, showing a situation of numerous schools, diverse systems, blooming flowers and all-round development of various painting themes. Generally speaking, Yuan Sijia's influence still existed in the early stage, which mainly imitated the Song Dynasty. After the middle period, the literati painting school represented by Wu Pai returned, inherited the ink painting method of Yuan Dynasty, and occupied the mainstream of painting.

6. Tang Bohu, a gifted scholar in the south of the Yangtze River in Ming Dynasty, Yin Mingtang, lonely sunset.

The Lonely Picture of Sunset is the representative work of Tang Yin's landscape painting Cangxiu Road. Draw mountains, cover pavilions and pavilions with dense willows, and face the river. A person is sitting in the pavilion, the boy is standing, the sunset is lonely in the distance, and the scenery is vast. The painting is neat, the rock outline is rubbed and dyed with dry pen, the lines change smoothly, the style is unique and beautiful, and the composition is unconventional. The mood is clear. At the top left of the picture, the caption reads: "Draw a bead curtain, and the sunset is lonely and traceless. I want to see Wang Nanhai for a thousand years, and borrow a gust of wind from the Dragon King. " This poem borrows the allusions from Wang Bo's Preface to Wang Tengting, and "painting a bead curtain" refers to "painting a building to fly to Nanpu Cloud, and the bead curtain rolls over the western hills at dusk" in the poem Wang Tengting. In the preface of "Lonely Sunset", the phrase "Lonely and lonely Qi Fei, autumn water * * * sky is one color" appeared. "I borrowed a gust of wind from the Dragon King" means that God helped Wang Bo. It was with the help of Wang Bo, the Dragon King, that Tang Yin's poem became famous, lamenting his untimely birth and his lack of talent. So the whole painting is deeply sad because of this poem. In addition to painting, Tang Yin is also good at poetry and calligraphy, which is called "two unique skills". He deepened the level of artistic expression with high cultural accomplishment. This painting depicts the beautiful willows in Gaoling and the Shuige near the river. There was a man sitting in a pavilion, watching the sunset alone, accompanied by a scholar. The whole painting is quiet and contains the temperament of literati painting. In terms of expression techniques, close-range rocks are mostly rubbed with wet pens, with alternating strokes and heavier ink. The ink color of the whole painting is pleasant and moist, and the scene processing is free and easy.

7. The Qing Dynasty was the last feudal dynasty in China, which lasted for 286 years from 1644 to 19 1 1. The painting art in Qing Dynasty continued the trend since Yuan and Ming Dynasties. Literati painting is increasingly occupying the mainstream of painting, and landscape painting and ink painting are popular. Under the influence of literati painting thought, more painters spent their energy on the pursuit of pen and ink interest, resulting in more diverse forms and factions. Under the influence of Dong Qichang's "North-South School Theory", there were many schools of painting in Qing Dynasty, and the competition was fierce, which was unprecedented. The development of painting in Qing dynasty can also be roughly divided into three periods: early, middle and late. The early painting circles were dominated by the "Four Kings" school, while there were innovative schools represented by "Four Monks" and "Eight Schools in Jinling" in Jiangnan. In the middle of Qing Dynasty, due to the prosperity of social economy and the emperor's love for calligraphy and painting, court painting developed well. However, in Yangzhou, a school of literati painting, represented by the Eight Eccentrics of Yangzhou, advocated innovation. In the late Qing Dynasty, Shanghai School and Guangzhou Lingnan School gradually became the most influential painting schools, and a large number of painters and works emerged, which influenced modern painting creation.

7 Poetic Qing Shitao and Shan Li

Eight, Chinese painting is the deepest precipitation in China's humanistic thought. The cultural implication of Chinese painting goes far beyond painting. In fact, it is a history of China's thoughts and perfect angle of China's simple classical cosmology. In essence, China's paintings are full of metaphysical meanings. The essence of Chinese painting lies in "creating the environment" (creating poetic artistic conception to express the ideological theme of expressing meaning by borrowing things and expressing emotion), not in reshaping (modeling); Qi Baishi advocates that art is "between likeness and dissimilarity", and Cheng Shifa points out that painting pursues the same thing as truth, so it is not an artist but a scientist! ! ! Artistic perception: a work of art needs to show its unique artistic personality, have the spirit of the times, and promote people's progress or positive progress; It is not simply "in the description of objective things", otherwise, the value of artistic works is equivalent to "digital photos" (even without the "clarity" of digital photos). -gu

Therefore, we should not pursue "likeness" unilaterally, but focus on the ideological connotation of his works: "ideological character is the life of art", and poetry and painting are the most important.

China's Poetic Works of Modern and Contemporary Paintings —— Qi Baishi and Gu.

As we all know, from the late Qing Dynasty to the present, for nearly a hundred years, especially in May19 14, Xu Beihong's On the Improvement of Chinese Painting advocated changing Chinese painting for nearly a hundred years, judging by the evaluation criteria of western painting, so Chinese painting developed in disorder and lacked artistic opinions. On the premise of the opposition between western "entity" epistemology and China's "dialectical" epistemology, China has an artistic orientation dominated by doubting and rejecting China's traditional culture and unilaterally pursuing western culture, which makes the development of Chinese painting lose its nurturing root-China's traditional culture. The result is to push the development of Chinese painting to the extreme, or to be conservative and self-styled; Either westernize completely and transform Chinese painting into neither fish nor fowl with western theory. The 20th century experienced war, poverty and turmoil-"May 4th Movement, the west wind spread eastward, breaking the four eras and the Eighth Five-Year Plan"; During this period, although many painters made unremitting efforts for the redevelopment of Chinese painting, due to the lack of research on the theoretical origin of Chinese painting-China traditional culture, they were limited to the artistic thinking of seeking "skill" with "skill" and could not get rid of the long-standing thinking mode of "image". Although they have made some achievements in art and developed some new techniques, they have not fundamentally solved the problem of innovation and development of Chinese painting in theory.

Original post address: network link