What is the difference between northern and southern landscape paintings, and the essential difference between northern and southern painting and calligraphy.

Taking the late Tang Dynasty and the Five Dynasties as the starting point, northern landscape painters generally took the northern landscape as the object of expression, and soon formed a prosperous situation in which Guan Tong, Li Cheng and Fan Kuan separated, followed by Guo, who, like their predecessors, were good at laying out mountains and rivers and praising magnificence. Wang Ximeng, a young genius, is famous for a hundred generations with a big green landscape "A Thousand Miles of Rivers and Mountains", and his achievements are related to the ancient rhyme atmosphere at that time. Although it is ancient, it has not given up the outstanding achievements of various schools in LiGuo. Known for its traditional northern landscape, it grew up in the painting academy at the end of the Northern Song Dynasty and continued for a period of time with the southern crossing of the Song Dynasty. Li Tang is a typical example. When he wrote The Picture of Wanhe and Song Feng in the Northern Song Dynasty, he combined the advantages of Fan Kuan and Guo, and still pursued lofty and vigorous goals. He entered the Southern Song Dynasty Painting Academy, changed it into a simple landscape with rich colors, and finally changed from Ma Yuan and Xia Xuan to Dacheng. The landscape of the Northern School has gone through several stages:

One is the pioneering period represented by Hao Jing. Hao Jing has the heart to help the world, but he can't catch up with it in troubled times. Because he was hidden in the Honggu of Taihang Mountain, he named himself "Hong Guzi", swam by the spring and read thousands of books. Hao Jing claimed to be his teacher and said: Wu Daozi has a pen but no ink, and there is ink and no pen on his neck. I should adopt the strengths of my second son and become a family. This shows that Hao Jing is most interested in ink and wash landscape painting. In his view, the advantages and disadvantages of landscape painting in Tang Dynasty coexist. Relatively speaking, only Wu Daozi and Xiangrong are the most qualified. According to the Tang Dynasty, the change of landscape began with Wu Daozi. The Book of Famous Paintings in Past Dynasties says: Yan Shan created art and learning, with a gradual change of palace view. If he still looks like a stone, he should carve it through, such as the blade of an ice axe; To draw a tree, you have to brush your veins and carve your leaves, and you have to live in many places. The more dry you are, the more clumsy you are. Wu Daoyuan, who paid great attention to Heaven and believed in God when he was young, often painted walls in Buddhist temples and collapsed beaches with strange stones. If you can consider it, you can also write landscapes in Shu Road, starting from Wu and ending in Erli. Wang Xunzi is good at landscapes. Youfeng Youshan is excellent, and the whole world calls mountains and rivers the first foot of the Tao. From the context, Wu Daozi has changed the status quo of "stone is like an axe blade" and "painting a tree is like brushing veins and carving leaves". His contribution lies in liberating landscape painting from a relatively naive state and making it mature, which had a great influence on landscape painting at that time. From the perspective of Jing Hao, Wu Daozi is good at ink and wash landscapes, which is consistent with the characteristics of his figure painting "single and colorful" and "Wu Zhuang". Xiangrong is also dominated by ink painting. The famous painting books of past dynasties say that Xiang Rong is stubborn. Combined with Jing Hao, it probably means that he uses too much ink and lacks the pen power like Wu Daozi. His disciple Wang Qia is good at painting landscapes, so people call him "Wang Mo". They like to draw with ink. Judging from his self-report, his wish is to collect the achievements of Tang paintings and get married. The existing Open Road Map and Snow Scene Map can be regarded as Hao Jing's achievements. All previous dynasties respected him as a master of landscape painting, not just the originator of the northern landscape painting school. The book Calligraphy has more important value.

The second stage is the heyday represented by "Three Scenes". Guo's "Paintings and Experiences" Volume I "On Three Schools of Landscape" said: Painting landscapes only caters to Qiu Licheng, Guan Tong of Chang 'an and Fan Kuan of Huayuan, and their wisdom is fascinating, so they are above the class, and the three schools stand tall, marking the course of hundreds of generations. Although there are theories handed down from ancient times such as Wang Wei, Li Sixun and Hao Jing, how to promote modernity? Although there are dedicated scholars like Zhai, Liu Yong and Ji Zhen, it is difficult to follow in their footsteps. The weather is bleak, the smoke forest is clear, the fine front is prominent, the ink method is implicit and the management system is high; The stone is strong, the trees are lush, the pavilions are quaint, the characters are leisurely and comfortable, and the wind of closing the house is also; The mountains and peaks are vigorous and powerful, the pens are evenly grabbed, and the people and houses are all qualitative, which is also a masterpiece of Fan. There are Wang Shiyuan, Wang Duan, Yan Gui, Xu Daoning, Gao Keming, Guo, Li Zongcheng and Qiu Ne, either integrated, concrete and small, prefabricated or both. But there are three Tibetan painters and philosophers who are more serious. It has a high reputation without hesitation. At that time, on the landscape painting altar, "Qilu people only copied Qiu, Guanshan people only copied Fan Kuan." Relatively speaking, among the three schools, Guan Tong's influence is slightly inferior, and Li Cheng's influence is the greatest. Many famous artists in the Northern Song Dynasty were inherited or influenced by Li Cheng to some extent. The Northern Landscape Painting School initiated by Hao Jing has been carried forward by the three schools, with great momentum. The oldest of the three is Guan Tong. Hao Jing's younger son, Guan Tong, is known as a green man, and is called "the landscape of the housekeeper". Guan Tong's paintings, such as the Travel Map of Guanshan, have been handed down from generation to generation. He who climbs high and looks far into the poor valley can get it at one stroke. Its rugged shape, such as sudden gushing, lush peaks and rocks, earth and stone at the foot of the mountain, regardless of the geographical flatness, roads and roads are unique, bridges and villages are ready-made, so it was pushed at that time. You like to be a cold forest in the autumn mountain, and live in a wild crossing in the fishing market, villages, secluded people and hills, making people feel at ease, as if they were in the snow of Baqiao, and when the Three Gorges heard about apes, they no longer had the appearance of resisting dust and vulgarity in the city. Cover the painting and take off a little bit. The simpler the pen, the stronger the gas, the less the scenery and the longer the meaning. There is no record of Guantong activities in the Northern Song Dynasty. Maybe Zhao Kuangyin died before the founding of the People's Republic of China. Although Guan Tong was originally from Hao Jing, his influence was greater than Hao Jing's. Li Chengben lived in Yingqiu, Shandong Province during the last five dynasties of the Tang Dynasty. Wang pu (~ 959), the secret history of the later Zhou Dynasty, tried to recommend his great use, but died of simplicity and binge drinking, and generously lamented his life. Shortly after the early Song Dynasty [1] Gande Reform, Si Nong Rong learned about Huangsanzhou, which made Li Cheng famous. Because of this, Li Cheng moved to Huaiyang, but he was still frustrated. So he drank crazy songs all day and died drunk in the guest room. He was in Gande for five years, and Ding Mao (967) died at the age of 49. Therefore, Li Chengdang was born in the Five Dynasties, when Zhu Tang, the last emperor of the Liang Dynasty, was five years old (9 19) and lived in the Central Plains for less than ten years. Li Cheng's paintings were very prestigious at that time. "Xuanhe Painting Spectrum" said: "The landscapes he painted are flat, dangerous and easy, with twists and turns, flying and overlapping, broken bridges and rocks, stormy weather, snow and fog, all of which are written in his chest, such as Meng Jiao's poems and Zhang Diancao's madness. Bixuan is Dali. Therefore, those who call mountains and rivers become the first in ancient and modern times, and even those who are anonymous call Li Ying Qiu Yan. However, although painters like to criticize the quality of topics, they all put them away. " Fan Kuan, a neutral figure, was born in Huayuan County, Shaanxi Province. He travels between Beijing (Kaifeng) and Luoyang. He is a heavy drinker with an antique appearance. I like painting landscapes, and I have been studying Jing Guan for a long time. I sigh: My predecessors' methods take everything. I am not a teacher of other things. I am not someone else's teacher, but someone else's teacher So "living in the mountains, often sitting in danger all day, looking around, for fun." Although in the snowy moon, I will look around and think about it. "In his later years, he lived at the foot of Huayan Mountain in Nantai." Looking at its bleak scenery, ink meets the gods, and it is like a valley in Qian Shan. Although it is on a hot day, it makes people eager to carry it. "Therefore, everyone knows that forgiveness and mountains are vivid, so it is appropriate to drive with Guan." The Journey to the West is the most outstanding model of the three major landscapes, and enjoys a high reputation in ancient and modern times. Jing Guan Li Fan can actually be divided into two factions. Guan Jingfan is famous for his forceful style, while Li Cheng's school is famous for its elegant plain cold forest. At that time, although Li Fan was rated as a "litterateur and martial artist", he could be regarded as the forerunner of Fan Kuan. Fan Lishi studied in Jing Guan, Li Chengshi studied in Wen Xiu and Fan Kuan, and brought their own strength into full play. Although he comes from the same background and has different faces, he is good at learning. When Lee came out, the world suddenly followed him. "Qilu people are just copying camps; Those who pass by Shaanxi only copy Fan Kuan. " This is true not only of Qilu and Guanshan, but also of landscape painting in the Northern Song Dynasty.

The third period is a glorious period represented by Guo. Guo's main activities were during the reign. At this time, literature and art flourished, and Su Dongpo, Huang Gugu, Cui Bai, Zhao Chang and others rose one after another. Prior to this, the northern landscape painting mainly developed outside the palace, and then entered the palace with Guo, leading the whole landscape painting industry. Guo, whose name is Chunfu, is from Heyang. In the year when Zongshen ascended the throne (1068), he had already heard the name of Guo Xizhi and was connected to Beijing by Prime Minister Fu Bi. Song Shenzong was in office for 18 years (1068 ~ 1085), so Guo Si told Evonne, a Huizong person, that his father "suffered from cults for nearly 20 years". There are a lot of painting activities inside and outside the court. Guo Yuan is a folk painter. Xu Guangning said that he was a "painter without learning", and Guo Si also said that he was "born" and did not consider learning from painting. The turning point of his painting style is probably inspired by Li Cheng's paintings. According to the inscription written by Huang Gu in three years (1 100), Guo Wei Su Cai Weng Shunqin copied six pictures of Li Cheng's Shower, and his brushwork has improved greatly since then, and his painting style has turned magnificent. "Xuanhe Flower Spectrum" says: Take Li Cheng's method a little, and make the layout more beautiful. And complacent. When it comes to thinking, it is just inside the high hall wall, and it looks like a giant pine tree, a back stream cliff, a cave, a beautiful peak, and a cloud. The commentator said that he stayed alone for some time. Although old, writing is powerful, as if commensurate with its age. After Guo, the mountains and rivers of the northern school were mostly called, from three mountains and rivers to two mountains and rivers, it can be seen that Guo's influence can almost keep pace with Li Cheng. Lin's "Gao Quan Zhi" is a classic of northern school landscape painting theory.

The fourth period is the transition period from ink painting to cyan coloring. After Zhezong ascended the throne, he didn't like Guo's paintings. All the old works were returned to the materials office. In history, Zhezong was called a "good ancient map", and the so-called "ancient map" talked about what they thought was the green landscape of the Tang Dynasty (in fact, this is not necessarily the case). As a result, colorful landscapes, that is, green landscapes, appeared in the painting world. Since then, the landscape painting industry has always attached importance to green, and even Su Dongpo, who advocates literati interest, has greatly appreciated the green landscapes he painted. Judging from the historical records of painting and the ancient paintings seen, the existing landscape of the Tang Dynasty has not changed its color. This painting may be a new style of landscape painting before and after Zhezong. At the same time, the continuation of the tradition of Li Guo led to the coexistence of various styles in the landscape painting industry in the Northern Song Dynasty. The most famous green landscape painter is the young genius Wang Ximeng. His "Thousands of Miles of Rivers and Mountains" is composed in a plane way, and it draws thousands of miles of rivers and mountains. The green color is rich and brilliant. Plain scenery has gradually become a trend since Guo and others advocated it, which is one of the concrete manifestations of literati's interest in landscape painting, and green color setting is a new trend in this period. Wang Ximeng's works can be described as ancient and modern. There is Postscript of Cai Jing after the volume, which shows that Wang Xi was entrusted by Zhao Ji, and it took half a year to make this painting. Nowadays, many people say that Wang Ximeng died soon, and young people died at such a moment, which is half speculation and half imagination. At this time, most landscape painters have a solid foundation of Li Guo's landscape. In the atmosphere of advocating green landscape, they tried to combine the advantages of LiGuo and green. Among them, Wang Shen is a successful example. Wang Shen comes from a noble family and is a rare talent. He tried to build a treasure gallery to collect ancient and modern famous paintings, and Su Shi wrote the Treasure Gallery for him. There is a West Garden at home. The story of "Painting History and Elegant Collection of West Gardens" tells the story of Wang Shen wandering with many friends in the field of poetry, painting and calligraphy, talking about art. Wang Shen is good at calligraphy and painting, and has always made comments that are not ancient. The so-called "out of date" means that there is a landscape in Wang Shen, which is both green and ink. It is neither the Li Guo ink landscape inherited from previous dynasties nor the new green landscape. Wang Shen didn't want to completely cater to fashion, trying to express "now" in green, but adopted a compromise and reconciliation attitude.

In the fifth period, Li Tang was the representative of popularization. The famous artist who can continue the tradition of Li Guo was the first to promote Li Tang. In ancient times, Heyang people, who are fellow villagers with Guo, became famous. The Map of Wanhe and Song Feng was written in the sixth year of Xuanhe (1 124), which was the last work with a definite date in the Northern Song Dynasty. Similarly, there are the practices of "Jiangshan Map" and "Wanmuqifeng Map", which are generally considered to be Li Tang's works in the Northern Song Dynasty, or works that continue the painting methods in the Northern Song Dynasty. After Li Tang entered the Southern Song Dynasty, he changed the old law, took more small scenes and became famous for his pen and ink, which was finally achieved by Ma Yuan and Xia Jue. The landscapes in the Southern Song Dynasty are all from Li Tang, which is very famous. After Li Tang, generally speaking, the landscape of the Northern School tends to decline. In the Jin Dynasty, where the Northern Song Dynasty coexisted, it was greatly influenced by the Northern Song Dynasty, and the landscape of Li and Guo schools prevailed for a long time in the Northern Song Dynasty. According to Dong Qichang, the landscape of Yuan Dynasty can be divided into two schools, one is to learn from the landscape of Li Guo, and the other is to learn from the landscape of Dong Juzhi. In the Ming Dynasty, the Zhejiang School was based on the landscape of the Northern School, but it was too rigid and fierce, which inevitably led to many criticisms. In the early Qing Dynasty, most of the painters and works of the eight schools in Jinling also started from the landscape of the Northern School. In modern times, Mr. Huang especially admired the masters of the Northern Song Dynasty, and he was nourished by the nature of mountains and rivers. His paintings are colorful and he is a master of traditional landscape painting. In today's upsurge of using yellow in landscape painting, the northern school landscape painting has once again attracted great attention from academic circles.

Generally speaking, the characteristics of the northern landscape mainly include:

1. From the perspective of the times, the landscape of the Northern School began in the Five Dynasties and ended in the Northern Song Dynasty. After more than 300 years, it is one of the main schools in the history of landscape painting. After some painters, such as Li Tang, moved south, their styles changed greatly, which led to the formation of clear and rigid landscape style in the Southern Song Dynasty.

Second, the mountain is abrupt, so we should take the high and straight feeling of the front mountain shape. There are many waterfalls and flowing springs, long pine trees and huge trees, which deliberately express the majestic and muddy artistic conception. Even the distant cold forest and the like deliberately create such an artistic conception [4]. Representative works include Lushan Mountain Map, Guan Tong's Travel Map of Guanshan Mountain, Fan Kuan's Travel Map of Xishan Mountain, Guo's Travel Map of Early Spring, and Northern Jin's Travel Map of Xishan Mountain.

Third, deliberately show the texture of the rocks in the north, which is solid, angular and vigorous. Mainly short and gloomy nails, raindrops and short stripes. This is related to the geographical characteristics of the mountains and rivers in the north, which is explained in detail in Guo's Lin Zhi and Han Zhuo's Complete Works of Pure Mountains and Rivers.

Fourth, the law is strict. We can see from the various painting strategies and pure complete works of landscape books circulated in the Northern Song Dynasty that painters at that time attached great importance to trees, rocks, clouds, haze, blue light, wind and rain, snow and fog, people, bridges, Guancheng, temples, mountain homes and ships, and the existing landscape paintings of the Northern School made us believe in it.

Fifth, from Guo, there are many vigorous ink and wash expressions; At the end of the Northern Song Dynasty, colorful green landscapes began.

Sixth, judging from the shape of the work, there are many vertical axes in the early stage and many long scrolls in the later stage.

Seven, there are many famous artists, and the painting style is relatively unified. It is one of the most prominent painting schools in the ancient Central Plains.

Eight, the theoretical system is complete. There are calligraphy, Lin Zhi, complete works of pure landscape, and several landscape paintings handed down from generation to generation. From the sublimation of technique to theory, the basic viewpoint of this painting school is expounded in all directions. Among them, Notes on brushwork and Lin Zhi are the most famous, which have become programmatic theoretical documents of northern school landscape painting.

Of course, the theory of landscape painting is summarized and sublimated from the creation of landscape. After a thousand years, examining this period from the perspective of painting theory can undoubtedly help us accurately grasp the pulse of history. Moreover, the landscape painting theory of the Northern School has its independent value, and it still has practical significance for our landscape painting creation until now.

Since Dong Qichang's theory of "South School and North School" was criticized in 1930s, there are two major landscape systems in history, which are often called "South School" and "North School" in the art world. As an authentic "Four Kings" school of Southern School, many people were still studying in the first half of the 20th century, among which Lu Hui, He Weipu, Jiang Jun, Gu and Gu were the most famous.

Lu Hui (185 1- 1920), Lianfu,No. His landscapes are mainly four kings, mainly antique, mainly ink and wash, with a heavy atmosphere. He Weipu (1842- 1925), a native of Hunan, is a calligrapher from the official to the cabinet, and his grandfather studied calligraphy. Most of his paintings are antique, rigorous and quiet. Jiang Jun (1847- 19 19), an Anhui native, mainly copied, with strong pen and ink. Huang said that "painters and painters in the capital have admired Shigu for twenty years" has a lot to do with him. Ancient (1865- 1930) Suzhou native, Wang Shigu's painter, has a quiet and distant style. Xiao Junxian (1865- 1949),No. Tiefu, was born in Hengyang, Hunan Province. He studied under the Four Kings in his early years, and after he was 40 years old, he transferred to the Song and Yuan Dynasties and merged into his own style. I like to draw with wool, with light ink, dry pen and side front, mainly with rubbings, slightly dyed and heavily coated, which is very rich. He also has a boneless green landscape, which is very beautiful with color instead of pen and ink. After Gu, Wu Zhihui, Tang Di, Liu, Lu and other famous painters studied the Four Kings.