What kinds of China ancient paintings are there in high school history?

China ancient painting originated in the Neolithic Age, and its development is as follows:

1, the bud of painting

The Stone Age was the embryonic period of China's painting. With the improvement of stone-making methods, the original arts and crafts have been developed. However, a few years ago, the examples of China's paintings we knew were only Neolithic patterns painted on ceramic vessels. But in recent years, many provinces in China have discovered rock paintings, which makes historians push the origin of China painting art to the Paleolithic Age. Among these numerous discoveries, there are also many images depicting people, some of which can be called a huge system. Yinshan Rock Painting in Inner Mongolia is one of the earliest rock paintings. There, our ancestors created many such images in about 10 thousand years, and these interrelated images turned the whole mountain into a 300-kilometer-long gallery. Probably inspired by religion or witchcraft, our ancestors worked tirelessly to create these images. Similar images can also be seen in the rock painting site of Jiangjun Cliff in Kongwangshan, Lianyungang, northern Jiangsu.

2. The painting art of Neolithic Age.

When discussing Neolithic paintings, we should still look at the mysterious rock paintings in remote areas. The rock paintings found in Cangyuan, Yunnan Province reflect human activities, including hunting, dancing, sacrifice and war. The composition of rock paintings tends to be more complicated, and the content of rock paintings has also developed from a single object to an interrelated and dynamic person. Their existence shows us an important period in the development of China's painting. Of course, artists in this period did not have any boundary restrictions when painting rock paintings, and there was no treatment on the rock surface. Their creation is unrestricted.

All these changes stem from the appearance of pottery and wooden buildings. Creative and imaginative artists immediately found that these materials are excellent places for painting, so there are rich colors and rich patterns on these objects. The painted pottery patterns of Yangshao culture and Majiayao culture are characterized by simplicity, vividness and colorful, which are outstanding creations of our ancestors. In addition, Dawenkou culture, Hongshan Culture and Hemudu culture also have a certain number of painted pottery. Yangshao painted pottery is the most distinctive and intriguing of Banpo pottery pots unearthed in Xi 'an, and the specific meaning of this pattern has been under speculation. The most striking image of Miaodigou painted pottery is the picture of stork and stone axe painted on the pottery pot, which was unearthed in Yan Village, Linru, Henan Province. The birds, fish and axes depicted in the painting in a realistic way are 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 joyful dance of clan members, which is a masterpiece of Neolithic painting art.

3. Overview of pre-Qin painting

The whole "pre-Qin" era belonged to a slave society before the Spring and Autumn Period and entered a feudal society after the Warring States Period. With the expansion of social division of labor, various handicrafts have been greatly developed, and the so-called "bronze civilization" has emerged. The needs of the ruling class have promoted the development of various categories of fine arts, and painting is no exception, and has made great progress. However, the remains of pre-Qin paintings we can see today are very few. It is speculated that the reason for this phenomenon is that most paintings are painted on perishable wood or cloth. In many Shang tombs, especially in Shang royal tombs, traces of painted cloth and silk have been found. It can be seen that the use of pigments as pigments to draw objects was very extensive at that time, and the juxtaposition of the two basic colors, black and red, formed a strong contrast. It is said that shiny bronzes and white pottery were often placed on lacquer paintings at that time, which was very ornamental. The remains of architectural murals have also been found in Yin Ruins, and the curly and symmetrical patterns drawn in red and black on white and gray walls are quite decorative. The Western Zhou Dynasty, the Spring and Autumn Period and the Warring States Period recorded the creation of temple murals, and Qu Yuan's masterpiece Tian Wen was made after seeing the murals in the Temple of the King of Chu.

Fortunately, two silk paintings of the Warring States period were unearthed from the Chu Tomb in Changsha, both belonging to the 3rd century BC. Both paintings depict the portrait of the tomb owner. One is a woman with a flying dragon and phoenix painted on it. The other is a man with status, driving a dragon or a dragon boat. The profile portrait outlined with ink lines and symbolic animals are similarities between the two paintings, but the difference is that the artist's skills in Dragon Warrior are much more skilled.

4. Overview of painting in Qin and Han Dynasties

The Qin and Han Dynasties were the period of the establishment and consolidation of China's unified multi-ethnic feudal country, and also the extremely important period of the establishment and development of China's national artistic style. In 22 1 year BC, after Qin Shihuang unified China, a series of reforms in political, cultural and economic fields brought about great changes in society. In fact, artistic activities to publicize achievements and show kingship promoted the development of painting. The rulers of the Western Han Dynasty also attached importance to painting, because painting could serve their political propaganda and moral preaching. During the period of Emperor Wu of the Western Han Dynasty, Zhao Di and Xuan Di, painting became an effective way to reward meritorious deeds, and the palace murals made extraordinary achievements. In order to consolidate the world and control people's hearts, the Emperor of the Eastern Han Dynasty also advocated "harmony between man and nature" and "Fu Rui". Auspicious images and historical stories flaunting loyalty and filial piety became the common creative themes of painters. The custom of thick burial in Han dynasty makes it possible for us to see the painting relics at that time from the murals, stone reliefs and brick tombs discovered one after another today. The art of Qin and Han Dynasties, with its deep and heroic spirit, radiated dazzling brilliance in the art history of China.

5. Silk painting in Han Dynasty

There are many works painted on silk in Han dynasty, but after thousands of years, few have survived. At present, the most important discovery is the silk paintings of the Western Han Dynasty unearthed in Mawangdui, Changsha, Hunan Province and Jinque Mountain, Linyi, Shandong Province in the 1970s. The silk paintings unearthed from Mawangdui 1 Tomb have the most obscure meanings, and scholars' explanations are extremely diverse. However, it is generally believed that the upper half and the lower half of silk painting depict the heaven and the underworld respectively, while the middle two parts show the life scene of the late wife. The description of the tomb owner and various gods, birds and animals is extremely vivid, with smooth lines and solemn and elegant colors, which shows the excellent level of painting in the Western Han Dynasty. In addition, the importance of three silk paintings in Mawangdui Tomb No.3 can not be ignored. In addition to the tomb owner, they also described the contents of "guidance" and etiquette ceremony, which was very beautiful. The content of the silk painting of Jinque Mountain is similar to that of Mawangdui Han Tomb, with the moon, the moon and the fairy mountain above, and dragons, tigers and ghosts below. The middle part depicts the life of the tomb owner. The combination of Boneless and sketch embodies the techniques of Chinese painting.

6. Three Kingdoms, Jin, Southern and Northern Dynasties, Sui and Tang Dynasties.

The history of the Three Kingdoms, Wei, Jin, Southern and Northern Dynasties is a process of unity and division. First, Wei, Shu and Wu split, and then Sima Jiatong arrived in the Western Jin Dynasty. However, years of wars in sixteen countries have brought China into the era of division again. In the 5th century, the Northern Dynasty formed by the unification and successive division of the Northern Wei Dynasty confronted the Southern Dynasty replaced by Song, Qi, Liang and Chen. The unstable political situation and the chaotic situation have brought about a general economic recession, but extraordinary changes have taken place in the ideological field. At this time, the ruling class has long been dominated by Confucianism, and the folk customs have also been pitched. The chaotic society has created an excellent opportunity for the spread and spread of religion, and all sectors of society have more urgent needs and wider acceptance of Buddhism. As one of the images of social ideology, the art of calligraphy and painting has also undergone strong changes at this time. The figure painting in painting has made outstanding development, but the description of other objects is still in a very immature stage.

In the history of painting development in China, Sui and Tang Dynasties is another important period after Wei, Jin, Southern and Northern Dynasties. Painting and calligraphy in the Sui Dynasty, connecting the past with the future, is brewing the emergence of new styles. In the early Tang Dynasty, calligraphy and painting inherited the fashion of Sui Dynasty and advocated statutes, but they have shown different faces. This transformation was completed in the prosperous Tang Dynasty. Painters from various disciplines emerge in an endless stream, and their styles tend to be bodybuilding and flying. The figure paintings (including religious paintings) and landscape paintings represented by Wu Daozi show the outstanding achievements of painting in the Tang Dynasty. New changes have taken place in painting in the middle and late Tang Dynasty, and its influence can still be reflected until the Five Dynasties. During the Wei, Jin, Southern and Northern Dynasties, artistic changes were more reflected in the art of calligraphy, and regular script really appeared. Although the change of painting art is not as remarkable as calligraphy, the change of social atmosphere and the rise of Buddhist worship make the original simple and clear painting more complicated. Cao Buxing founded Buddhist painting, and his disciple Wei Xie developed on this basis. As one of the symbols of the maturity of painting, Gu Kaizhi, Zhang Sengyou and other famous painters have appeared in the south, and there are also, Cao, Tian Sangliang and so on in the north. The identity of the painter gradually entered the writing of history books and began to play an increasingly important role in social life.

During this period, figure painting (including Buddhist figure painting) and animal painting developed most prominently, while other disciplines of China painting were far from mature. The landscape in Luoshen Fu handed down from the Eastern Jin Dynasty was only used as the background for the story painting of characters, and the gradual independence of landscape painting did not tend to be completed until the late Southern and Northern Dynasties. This is because the main task of painting in this period is to serve the church and the country, and "knowledge depends on the drawing of the mirror". This is also a major feature of painting at that time.