Please help me to answer some questions about the art history of China.

1 The main forms of prehistoric painting in China

The main performances are:

1. Painted pottery: for example, Dawenkou culture, Hongshan Culture culture and Hemudu culture. There are also a certain number of painted pottery. There is also the "face fish pattern basin" of Yangshao culture; Miaodigou-style painted pottery "Stone Axe of Stork" depicts birds, fish and axes in a realistic way, which is said to represent the historical event of the merger of Stork and Fish. In addition, the Majiayao-style painted pottery basin unearthed in Datong, Qinghai, depicts the scene of clan members dancing happily.

2. Rock paintings: For example, the rock paintings of General Kong Wangshan Cliff in Lianyungang and Huashan Rock Painting in Guangxi.

3. Landscape painting: The large-scale turquoise dragon-shaped landscape painting of Erlitou site in Yanshi, Henan Province was officially named "Dragon" by scholars, and it was considered that its excavation found the most direct and orthodox source for the dragon totem of the Chinese nation.

2. Briefly describe the overall characteristics of the three generations of bronze crafts and their aesthetic differences of the times.

Bronze crafts in China are represented by bronzes in Shang and Zhou Dynasties, such as the so-called bronze ritual vessels-Ding. Ding is an ancient cooker, and its modeling features are composed of three parts: abdomen, feet and ears. The stomach can hold things enough to make a fire, and the ears can carry things through the fence. Ding is one of the most important bronze ritual vessels. Its practical significance is to hold or cook food, but its value is reflected in the maintenance of etiquette. Generally used for sacrificial ceremonies and banquets of the slave owners' class, it has the function of distinguishing between the superior and the inferior and is a symbol of the slave owners' ruling power. "Book of Rites": "The emperor is supreme, the vassal has seven ding, the doctor has five ding, and the scholar has three ding or one ding".

The decorative patterns of three generations of bronzes evolved in two processes. First, during the transitional period of Shang and Zhou Dynasties, decorative patterns were characterized by multiple patterns. Characterized in that each group of patterns has a central point, and the patterns are spread around the central point. Most of them are symmetrical.

Secondly, from the Western Zhou Dynasty to the Spring and Autumn Period, the decorative features were heraldic. Most patterns are in the form of lines, that is, decorative patterns around objects. The patterns are smooth and extensive, and sometimes gluttonous patterns are decorated in non-main parts.

At the same time, bronzes also have obvious pattern characteristics, mainly including:

Ancient Chinese bronzes not only have solemn shapes, but also have exquisite decorative patterns on the surface, which has high artistic value. Mainly decorated with animal face patterns (gluttonous patterns), dragon patterns, real prose, Feng Niaowen, etc., which are complicated and mysterious.

List the main patterns of silk fabrics in Han Dynasty.

Silk fabrics unearthed in Han Dynasty are divided into plain yarn, silk, silk, plain weave, plain weave and jacquard weave, twill and jacquard weave, brocade and loop brocade. It fully embodies the high achievements of silk weaving technology in Han Dynasty.

These modes mainly include:

1. Wrap plain yarn and.

2. Ear Cup Rhombo, Alphabetic Rhombo (unearthed from Mawangdui Han Tomb) and Macroporous Net (unearthed from Hebei Province)

3. Qi is a kind of silk fabric with twill flowers on its plain surface. The vessels of the Han Dynasty can be divided into three categories: ① flowers with border patterns (birds and animals with patterns and leaves with patterns unearthed in Niya, Minfeng, Xinjiang) and flowers with step patterns (unearthed in Luonaoer, Xinjiang and Juyan, Gansu). (3) Deformed twill weave shows flowers (unearthed from Mawangdui Han Tomb).

4. Brocade ① Two-color brocade: Hidden Peacock Brocade \ Hidden Star Brocade (unearthed from Mawangdui Han Tomb) ② Three-color brocade: geometric brocade, crimson songbird brocade, fragrant red dogwood brocade, etc. Crimson brocade (unearthed from Mawangdui Han Tomb) ③ Multicolor brocade: embossed brocade and velvet brocade (unearthed from Mawangdui Han Tomb).

Taenia solium is an ancient name of ribbon. It was unearthed in the Chu Tomb during the Warring States Period. The ribbons unearthed from Mawangdui Han Tomb in Changsha include slow tapestries.

6. refers to the silk fabric with a net structure on the surface. Transparent net (unearthed from Mawangdui No.3 tomb)

/view/ 124 1677.htm

What are the achievements of art in Han Dynasty? Analyze it with examples.

The starting point of Han art is the artistic level of the Warring States period. As the object of direct description, realistic style began to develop, which is also a new starting point for the development of ancient art. The role of art in cognitive life has entered a new stage in terms of scope and methods because of the development of art in Han Dynasty.

The themes of art in the Han Dynasty are divided into three categories: real life, historical and legendary stories of characters, and myths and legends about natural phenomena.

Paintings and sculptures representing real life account for the largest number. The murals, stone reliefs, brick reliefs and pottery in the tomb show war, feasting, music and dance, horse riding, hunting, cooking and some production activities (fishing and hunting, Niu Geng, harvesting, salt making, car making, smelting and casting, etc.). ). Created a variety of real and vivid artistic images of people and animals. These works are of great practical significance because of the sociality of their themes and the authenticity of their descriptions. For example, it shows the scene of feasting and dancing, but also shows all kinds of work in the kitchen in detail, showing the connection between the enjoyment of the nobility and the labor of the working people, and actually receives a distinct contrast effect. This kind of performance, although not intentionally revealed by ancient writers, is based on actual phenomena to show the facts that exist in history.

The main themes are historical or legendary stories of people, such as Huang San, Five Emperors, Duke Zhou's return to the throne, Confucius' seeing Laozi, and chivalrous men and women.

Secondly, myths and legends about natural phenomena are also very popular in Han art. For example, Dong and the Queen Mother of the West and their attendants, natural gods such as Leigong, Weaver Girl and Beidou, rare birds and animals such as Suzaku (representing the south), Xuanwu (representing the north), Qinglong (representing the east) and White Tiger (representing the west), and the imagination of foreign countries all reflected people's understanding of the objective world at that time and had the initial scientific knowledge. Moreover, as an imagination from real life, it has become a beautiful creation, especially because it reflects the complex connections in many aspects of spiritual life in this period. These imaginations have both simple poetic elements and a strong desire to pursue a better life.

The various themes of art in the Han Dynasty illustrate the nature of the art encyclopedia in the Han Dynasty. Artists try to express the contents of social ideology such as literature, history, astronomy, geography and philosophy through modeling. Compared with the historical level of this era, the themes of Han art come from all aspects of social real life.

In terms of artistic expression, the art of Han Dynasty is characterized by Gu Zhuo's techniques, with a distinctive style.

One-line drawing is the main expression of painting in Han Dynasty. The stone reliefs and some hollow bricks of Guo Ju Temple in Xiaotangshan are the simplest. There are only two kinds of figures, front and side, which pay attention to the decorative effect and reach a high level in realism, represented by the murals of Han tombs in Wang Du and some relief stones and bricks in Sichuan.

In the murals of Han tombs in Wang Du, the proportion of characters on one side is appropriate, and the body movements are natural. The treatment of clothes pleats, the arrangement of swords can be consistent with the movements, and the facial expressions are also portrayed in place. Sichuan stone reliefs and brick reliefs can better show the posture that people's head and body are not in the same direction.

However, the tomb murals in Wang Du and Liaoyang and the lacquer paintings in Le Lang color baskets all show that the method of color shading was also very popular in the Han Dynasty. In particular, the thickness of clothes pleats in the murals of Han tombs in Wang Du and the sense of volume in the murals of Han tombs in Liaoyang show the development of ancient painting techniques in many ways.

Although the artistic modeling ability of Han dynasty is not very high, it can show rich content. For example, the realistic ability of the portrait of "Guo Ju Temple" is naive. But if we take dealing with war scenes as an example, it contains 60 characters, forming a complete plot from beginning to end, so as to achieve the purpose of performance.

Han paintings are good at using the particularity of painting art when expressing themes.

The picture of "Jing Ke stabbing Qin Wang" in Wushi Temple captures the climax of plot development, thus showing the conflict. The picture of "Surabaya takes the tripod" shows the turning point of the development of the situation, but it also maintains dramatic tension. And "Min Zikai" shows a dramatic conflict very sharply.

In the paintings of Han dynasty, we can see some efforts to express the theme. Use constant repetition to seek changes in repetition, so as to express the theme forcefully and clearly. For example: motorcycles and team fighting, banquets, music and dance, and cooking.

In the dynamic aspect of painting in Han Dynasty, some stone reliefs in the east of Xiangshan (such as Liang Chengshan and Yinan), stone reliefs and brick reliefs in Nanyang and Sichuan, and the sense of direction and movement of various modeling factors have made rare achievements in plastic arts.

The main purpose of sculpture works in Han dynasty is to express the inner spirit of things, not just to imitate the appearance coldly. Large-scale stone carving: master the expression technique of large area and large block, and can fully express the unified and complete shape of the object; Vertical carving is combined with relief and line carving; The use of natural forms of stones aims to highlight the theme in a concise way, thus creating a unique expression.

The face in a small piece of clay sculpture presents a kind and lovely appearance. Acrobatics figures made of clay sticks also show their familiarity with dynamic structures. Among animals, such as horses, the shape of the head fluctuates in details, and some animal images (such as dogs unearthed in Huixian) attract the attention of future generations with a high degree of artistic generalization.

/ZGMS/zgmss/zgmss-00 10 . htm

5. Briefly describe the main features of China Grottoes Art.

China ancient grottoes art is a wonderful flower in ancient culture and occupies a very important position. Widely distributed, reflecting the Buddhist art in Wei, Jin, Southern and Northern Dynasties and Sui and Tang Dynasties. The main grottoes in China are Dunhuang Grottoes in Gansu, Maijishan Grottoes in Tianshui, Yungang Grottoes in Datong, Shanxi, Longmen Grottoes in Luoyang, Henan, Dazu Grottoes in Sichuan and Leshan Giant Buddha. They carved mountains with vivid and natural images, which have high artistic value and research value. Although the grotto art in China is different in time and region, their basic characteristics are the same.

To sum up, there are the following aspects.

First, the integration of divinity and humanity.

Buddhist statues in grottoes should follow the norms of doctrine, keep the distance between the image and the world, and have certain divinity. For example, "32 adults are alike" and "80 kinds are good in shape", which makes people look up and respect, but they can't be as cold as ice. They need human breath to feel amiable and credible, which is the most attractive between man and god. "God" is too full, which makes people feel respectable and unfriendly, and it is difficult to cause * * *. Too much anger between people will dilute the seriousness of Buddhism and make people feel deja vu at first sight, leaving no room for daydreaming. Most of the successful works in the Southern and Northern Dynasties and the Tang Dynasty are only between gods and people, so they are quite attractive. For example, Fengxian Temple in Longmen, built in Tang Gaozong era, is the largest statue in Longmen Grottoes, with the most rigorous overall design and the highest artistic level. Main seat, head height 4 meters.

Ear length 1.9 meters, wavy bun, round and plump face, high and long eyebrows, such as the first month, wide and long eyes, eyes staring forward and down, straight and generous nose connected with wide forehead, smiling at the corners of the mouth, showing inner peace, broad mind and full of confidence, giving people a feeling of kindness, kindness, loftiness and stability. The expression is subtle, mysterious and Gherardini. The seriousness reveals kindness, and it also contains majesty, approachability and inviolability. There is both masculinity of men and gentleness of women. This is an authoritative collection with the mystery of Buddha and the supremacy of the world, and it is a model of the perfect combination of divinity and humanity.

Second, the combination of environment and mood.

The art of grottoes is also the art of environment to some extent. The environment can provide a suitable place for the grotto statues and set off the artistic effect of the statues. Almost without exception, the grotto environment is chosen in a beautiful place far from downtown. The environment itself gives people a feeling of paradise, which is in line with the Buddhist concept of being heartless and longing for the pure land on the other side of the Buddhist country. For example, the Mogao Grottoes in Dunhuang are surrounded by a stream at the foot of Mingsha Mountain in the vast desert, with lush trees and lush vegetation, and statues carved on the mountain. The quiet and beautiful pure land of the Buddhist country will give believers who have traveled thousands of miles across the desert a strong feeling, as if they had really come to another world.

The choice of grotto location will also cause emotional shock to worshippers. For example, the Fengxian Temple in Longmen and the Binyang Middle Cave are built halfway up the mountain to the south of the West Mountain in Longmen. The worshippers need to take a mountain road and climb along the hillside path to see the statue. The hardships of the journey will increase the piety of worshippers and more fully brew their feelings. I am eager to worship Buddha and can't meet at once. After trekking and climbing, the statue suddenly appeared in front of me and my soul was conquered at once.

The combination of grotto modeling and sculpture will also create an imposing manner and infect worshippers. Such as Yungang Cave 18, the cavern simulates the form of a thatched cottage with a flat oval hollow roof. The depth of the cave is very small, and the statue is more than ten meters high and magnificent. Buddhists can only look up when they enter the cave, and there is no retreat behind them. This will cause the effect that the Lord is particularly tall and himself is particularly short, and the majesty and mystery of the Buddha will naturally become more prominent.

Third, the level of Buddhism and the layout of statues.

The world of Buddhism is hierarchical and centered on Buddhism. Buddhism advocates the equality of all beings, but it takes an unequal form in treating the artistic image of Buddhism. The Buddha statue is in the central position, and its shape is particularly tall and prominent. Bodhisattva, disciple, heavenly king, strong man, etc. Gradually become low-ranking and stand on both sides, such as the stars holding the moon.

Buddha, the abbreviation of Buddha, is the highest fruit of Buddhist practice according to Buddhist teachings. According to 80 rules that conform to the shape, the Buddha and people can't see the top, so a tall "inner bun" grows on the top of the Buddha's head, with a kind face. As the saying goes, "a strong man will bend when he sees it, and a terrorist will be stable when he sees it", so the Buddha has the spirit of deterrence. "The nose is high, round and straight, but the hole is not there", so the bridge of the Buddha's nose is straight to his forehead, which makes him wise. Connecting the nose that is only used for breathing with the thinking part becomes a part of wisdom, and the nostril is not present, which not only embodies Buddhist teachings, but also maintains the perfection of the body. Most Buddha statues are seated, and their bases are pyramidal. Bodhi is a right-hand man who helps the Buddha to promote Buddhism. His practice level is second only to that of Buddha, and his image is lower than that of Buddha and higher than others in form. The facial features are slightly smaller than the Buddha's, and his face is less dignified and more smiling. The posture is not as solemn and arrogant as the Buddha, but elegant and affectionate. Disciples are followers of Buddhism second only to Bodhisattva. The most common ones are Ananda, an old man and a young man in Ye Jia. The figure is shorter than the bodhisattva, and the image is more like a person. Ye Jia was weather-beaten and converted to Buddhism.

The image is pious, simple and natural; Ananda is young, smart, handsome and resourceful. According to Buddhist teachings, people who are educated by Buddhism are called disciples, so disciples have a thorough understanding of Buddhism. So their images are both ordinary and different from ordinary people. Both Tianwang and Lux are shorter than others, and they are grumpy. Their spiritual temperament contrasts with the quietness and stability of Buddha, Bodhisattva and disciples, and shows the kindness and greatness of Buddha.

Fourth, color and eyes.

The grotto statues were originally brightly colored and had a strong effect. Use color to distinguish grades and produce different feelings. The eyes of grotto statues are relatively fixed, staring in one direction, which is in contrast to the scattered and free situation of most Greek sculptures, avoiding staring at one place. This is due to the different uses of statues. Greek sculptures are mostly placed in open-air public places, so we should "talk" with audiences from all directions, instead of staring at one place. The grotto statues are confined to a fixed space and do not need to "talk" with more audiences. The interviewees are people who come to worship Buddha and take turns to receive them. Let the other person feel kind and willing to talk to him, so don't be distracted. Focus on the place where the worshipper kneels, as if listening attentively to the other person's story.

Symbolism and artistic treatment

Buddhist art is a symbolic art, and the symbol certainly needs a visual image, but its deeper meaning cannot be seen directly from the image itself, but needs to be understood from a more general meaning implied by the image.

The image of Buddhism is intended to arouse the lofty feeling of believers, so as to despise themselves and yearn for the Buddhist world. Sublime is the echo of great ambition, and it is the respect and superstition for the worshiped. Therefore, the image of Buddhism is obviously different from the prototype of life, and "not seeing the top" is a symbol.

6 The artistic characteristics of figure painting in Tang Dynasty

The trend or change of artistic development in a period can be found in social consciousness, cultural worship and even economic relations at that time. After nearly a hundred years' development, the regime of the Tang Dynasty was stable, the economy was rich, and the hedonism among the nobles was constantly strengthened. Therefore, in the early Tang Dynasty, Yan no longer needed to praise heroes with figure painting, and regarded painting as a political creation of "learning from foreigners". The sacred and solemn Buddha-goddess takes concubines and concubines among giants as models. This shows that the realistic elements in religious art are constantly strengthening, so that they will be separated from it and developed into secular art.

Wu Daozi's characters are very distinctive. Different from Gu Kaizhi in the Eastern Jin Dynasty, he changed the "iron line drawing" with the same thickness and was good at rhythmic "orchid painting". Break through the artistic form of the Southern and Northern Dynasties and form a unique style. Wu Daozi is good at grasping vivid characters, paying attention to the overall image-building, and his female murals are wonderful. His style has influenced Japan, South Korea and other places.

Chang 'an (now Xi 'an, Shaanxi), the capital of the Tang Dynasty, was full of talents. Yan Lide and Yan Brothers in the early Tang Dynasty, Wei Chi and his son, monks in the western regions, Lu Lengga and Sun Wei in the middle and late Tang Dynasty are all famous. Zhou's masterpiece "The Flower Lady" depicts a fragment of the leisure life of aristocratic women in the Tang Dynasty. There are five ladies-in-waiting and one maid-in-waiting waving Gong Shan in the painting. The faces and hairstyles of these five ladies are very similar. Some of them are teasing the puppy, some are looking at the flowers picked in their hands, and some are strolling, which is a true portrayal of the emptiness, loneliness and tranquility of court life. The clothes on the woman's body are very bright and gorgeous, and the paintings are very realistic. Even the tulle clothes worn outside are painted with texture. Han was an accomplished figure painter in the Tang Dynasty, who was good at painting cattle and sheep. His works include: Map of Wen Yuan, Tianjia Migration Map, Tianjia Custom Map, etc. The existing work "Five Cattle Map" depicts five bulls with different expressions, some are grazing, some are licking their tongues, and some are walking slowly, with rich brushstrokes and vivid expressions. As an important part of figure painting, the artistic level of murals in the Tang Dynasty is also very high. The figure shapes change from coarse to fine, and the appearance is accurate and vivid. Men are graceful and women are plump and colorful. Bodhisattva, dignified and quiet, gentle and kind. All these show that the paintings in the Sui and Tang Dynasties are closely related to real life, and people's attention to worldly feelings has surpassed their belief in the Buddhist paradise. With their own realistic hot pillow, the painters created exquisite and gorgeous scrolls, extraordinary creativity and superb realistic skills, which gave full play to the realistic factors of religious paintings in Sui and Tang Dynasties.

Zhang Xuan was a painter during the Kaiyuan period. He is good at drawing aristocratic women, babies and pommel horses. In Song Dynasty, Xuan He Hua Pu recorded 47 pieces of his works. But the original work has not been handed down. Today we see Song Huizong and Evonne's You Chuntu, the Lady of the State of Guo, and The Picture of Tao Ren. "The Picture of the Lady of Guo You Chun" depicts Yang Guifei's sister, Mrs. Guo and Mrs. Qin traveling with her entourage during the Tianbao period. There are eight women riding horses in the painting, with dense layout and no ink in the background, which set off the feeling of "spring" with the leisurely and happy posture and gorgeous costumes of the characters. The map of rammed earth depicts women's labor such as rammed earth, winding and sewing. The whole painting is divided into three groups, the characters sit or stand, look around and echo each other, especially through the action details, to convey the interest of life in the process of labor.

Zhou Fang, a native of Chang 'an, lived mainly in the period of Daizong and Dezong (763-804). Zhou was born in a noble family, and his paintings were influenced by Zhang Xuan. His portrait is quite vivid. On one occasion, he and another painter Han Yu painted a portrait of Guo Ziyi's son-in-law Zhao Zong at the same time. After they finished painting, everyone praised him repeatedly and could not tell the difference. His daughter saw it, saying that Han Gan's paintings were "as empty as Zhao Lang's appearance", while Zhou's paintings "moved the air and made Zhao Lang laugh". Visible, Zhou Fang is good at grasping the expression characteristics of objects. Zhou's works are "simple clothes" and "soft colors", and the female image is "wealth". Representative works include "The Picture of a Hairpin and a Phoenix", "The Picture of 10,000 Beauty Fans" and "The Picture of Tune and Sip Tea". The Beauty Map is based on the life of court women. The concubines in the harem are luxuriously decorated and plump, taking a leisurely walk in the garden. The background is extremely simple, and the artistic conception of the picture is mainly expressed by the characterization and expression of the characters.

7. Briefly describe the artistic features of landscape paintings in the Five Dynasties.

Due to the political division of the Five Dynasties, the style of Chinese painting was influenced. Hao Jing had a far-reaching influence in the north with his great power. He wrote a book, Calligraphy. Put forward "six essentials of qi, rhyme, thought, scenery and pen and ink" and developed "six methods" Guan Tong, a descendant of Hao Jing, has a far-reaching influence on Jiangnan ink painting. Ju Ran inherited Dong Yuan's mantle. They have always influenced the later generations and even developed into the theory of northern and southern sects.

During the Five Dynasties and the Northern Song Dynasty, landscape painting was mature. There are many styles and painters in this period. Northern landscape painting represented by Hao Jing, Dong Yuan and Ju Ran represents the outstanding level of landscape painting in the Five Dynasties.

In particular, the appearance of Hao Jing's "Kuanglutu" broke through the fact that most landscape paintings after the Sui and Tang Dynasties were limited to painting with or without hooks, and opened the door to ink-wash landscape paintings that pay attention to painting. This is the first major change and innovation of China landscape painting since its formation. Later, through the efforts of Dong Yuan and Ju Ran, the painting methods were enriched, diversified and mature, thus establishing the unique expression method of China's landscape painting.

Northern landscape painting school represented by Hao Jing and Guan Tong.

In short, several painters of the northern landscape painting school have their own characteristics; Guan Tong's "steep painting", Li Cheng's "broad-mindedness" and Fan Kuan's "Xiong Jie" have always been called "Three Scenes", all of which are unique because of their respective personalities. All three of them come from Hao Jing, showing majestic and steep valleys with strong personalities, and using hard "nails" and "raindrops". Therefore, they formed the Northern Landscape Painting School from the Five Dynasties to the early Northern Song Dynasty, which is essentially different from the "Southern Painting School" which depicts the gentle landscapes in the south of the Yangtze River with flexible lines.

The Southern Landscape Painting School represented by Dong Yuan and Ju Ran.

The southern landscape paintings, represented by Dong Yuan and Ju Ran, show the mountains and rivers in the south of the Yangtze River, especially the scenery of Nanjing. Because the hills in the south are mostly covered with mud, in terms of expression, a "pockmarked skin" that can reflect the characteristics of the mountains and rivers in the south has been created. The technique of "Pimaba" created by Dong Yuan has a great influence on later generations, such as "Yuan Sijia" (Huang Wang Gong, Wang Meng, Zhenwu and Ni Zan), "Wu Pai" Shen Zhou and Wen Zhiming in Ming Dynasty, "Songjiang School" Dong Qichang and "Four Kings" (Wang Shimin, Wang Jian, Wang Yi and Wang Yuan) in early Qing Dynasty. Almost all the 300-year-old landscape paintings in the Qing Dynasty were shrouded in the form of "skin and horse skin", and there were successors. Dong Yuan is the founder of Jiangnan Landscape Painting School.

In terms of artistic conception and aesthetic taste, the five dynasties landscape paintings can show different natural features and create a more profound artistic conception than the Tang Dynasty. For example, in the works of Hao Jing and Guan Tong, there are typical northern landscapes, such as "the top of the mountain is in the clouds, and it is steep on all sides" and "Guan Gong's potential is rare"; In Dong Yuan's and Ju Ran's works, there are typical southern landscapes, such as "Xiqiao Yupu, Zhouji, a piece of Jiangnan" and "Lan Qi is moist and the scenery is much more naive", which is unprecedented in the Tang Dynasty.

In the long-term development of landscape painting, in order to better express the characteristics of various rocks, many expression schemes, namely various painting methods, have been formed according to the different geological structures of various rocks. The so-called texture is the vein texture of rock. The so-called painting method is the method of expressing the vein texture of rock with a pen. Some early landscape paintings have no rocks. For example, Zhan Ziqian's "You Chuntu" only uses lines and simple veins, and then colors it. It was not until the Tang Dynasty that Hao Jing and Guan Tong of the Five Dynasties really began to try this method. In the Song Dynasty, the method of making a name for himself was basically complete, and in the Yuan Dynasty, there was a new development. According to the rules of pen use, it can be roughly divided into three types: thread (such as hemp, cirrus, lotus leaf, loose rope, ox hair, broken belt, etc. ), surface (such as scraping iron, chopping with an axe, etc. ) and spots (such as raindrops, watercress, nails, rice spots, etc. )

The representative painters of the Five Dynasties are Hao Jing, Guan Tong, Dong Yuan and Ju Ran. During the Five Dynasties, there were frequent wars in the Central Plains, and a large number of intellectuals lived in seclusion in the mountains, which effectively promoted the development of landscape painting. Hao Jing is the founder of the Northern Painting School. He is familiar with nature because he has lived in a mountainous area for a long time. Hao Jing lived in seclusion in the mountains of Taihang Mountain for a long time, and carefully observed the mountains in the north. His paintings reflect the characteristics of the northern mountainous areas. The stone circle is square, with short-line method as the main method, with equal emphasis on dyeing and distinct layers. He once said, "Wu Daozi painted landscapes with a pen but no ink, and painted necks with ink and no pen. I should adopt the strengths of my second son and become a family. " His so-called pen is crooked, and his so-called ink has the effect of yin and yang. His landscape painting marks the maturity of China's landscape painting. The masterpiece handed down from ancient times is Kuanglutu, which depicts Lushan Mountain in Jiangxi Province, but its life base still comes from the mountains and rivers in the north, among which the stones are hard and magnificent. Guan Tong, a student in Hao Jing, surpassed Hao Jing in landscape painting in his later years. Famous works handed down from ancient times include "Travel Map of Guanshan". The brush used in the stone gallery is divided into thick and thin, and the painting is mainly based on lines, and the brush is rendered with ink. The brush used in the whole painting gives a strong feeling.

Hao Jing and Guan Tong represent the northern landscape painting school, while Dong Yuan and Ju Ran are two great masters of southern landscape painting in the Five Dynasties.

Dong Yuan initiated the Jiangnan School of Painting, and his representative works include Xiaoxiang Map, Summer Mountain Map and Summer Mountain Pass Waiting for Crossing. Dong Yuan's method of painting rocks is short pima, and its method is a combination of short and curved lines, which is mostly used to express the mountains and rivers in the south of the Yangtze River. Later generations of literati and painters all took Wang Wei as their ancestor, but Wang Wei's paintings have long been lost. In fact, they all took Dong Yuan, the "Wang Wei in Ink Painting", as their ancestor.

Ju Ran is a monk. He studied painting from Dong Yuan in the Southern Tang Dynasty, and his painting techniques were basically similar to those of Moss Point. His technique is famous for its large poncho, which is a combination of long and overlapping lines and arcs. Famous works handed down from ancient times include Tween in Autumn Mountain and so on. The "Tao" in Ask Autumn Mountain is not that the painter got lost in the mountains and asked for directions. He chose the mountains in autumn to explore, looking for beautiful scenery and the true meaning of life. This is the real intention of landscape painting.

The southern landscape painting school represented by Dong and Ju has far-reaching influence, and its landscape painting art has been inherited and developed by later painters.