The development history of literati painting

Historical Development The origin of literati painting before the Song Dynasty can be traced back to the Han Dynasty, and both Zhang Heng and Cai Yong had painting names. Although the painting has not been handed down from generation to generation, it is recorded in ancient books. During the Wei, Jin, Southern and Northern Dynasties, Yao Zui's "don't learn to be a man, entertain yourself" became the central argument of literati painting. Scholars of all ages respected it as a painting purpose. Zong Bing's ambition is to "have a clear mind and view the Tao, and lie down and swim". It fully embodies the mentality of the literati to entertain themselves. Poetry prevailed in the Tang Dynasty, and the great poet Wang Wei painted with poetry. Make later generations regard him as the originator of literati painting. His paintings became a model for later literati painters. There are pictures in poems, and there are poems in paintings. It has become a practice and passed down from generation to generation. Before the Song Dynasty, China's painting had made remarkable progress, and there were "three landscapes" and "Xu Lvti different" flower-and-bird paintings. The Royal Academy of Painting in Song Dynasty was established in Song Dynasty. According to Deng Chun, the author of Painting Sui, Song Huizong personally presided over the Painting Academy, emphasizing "likeness" and "testimonies". Statutes are learning from tradition, which seems to reproduce objective things in a true and meticulous way. Song Huizong took realism and freehand brushwork as the leading thoughts, and developed a finely carved style. The above painting style of Xuanhe Painting Academy continued to develop in Shaoxing Painting Academy in the Southern Song Dynasty, and painters pursued vivid images and refined compositions. Generally speaking, the court painting in Song Dynasty pursues a high degree of realism, and some art historians call it "the peak of oriental realism". Realistic art tends to go to the opposite side when it develops to the extreme. In Song Dynasty, some painters with extensive cultural accomplishment found this shortcoming, and found a new way out in theory and practice, and put forward the theory of literati painting for the first time. Su Shi was the first to comprehensively expound the theory of literati painting, which played a decisive role in the formation of literati painting system. First of all, he put forward the concept of "literati painting". "Looking at literati paintings is like reading the horses of the world and taking what they feel. But if you are a painter, you often just take a nap in the fur trough and look at your feet and get tired. Han Jie really painted. " ("Dongpo inscription? Postscript Song Han Jie's "Painting"), secondly, he improved the historical position of the painter Wang Wei, showing the desire to separate the literati painter from the professional painter (painter): "Although Wu Sheng is wonderful, he still regards painting as a painter. Thank Long Fan like a fairy. " (Fengxiang eight views? Thirdly, he advocated the poetic style of literati painting, and opposed the painter's complete pursuit of similar style. "There is a picture in the poem. Look at the picture. There are poems in it. From the perspective of painting practice, Su Shi's Dead Wood and Strange Stone can better show his aesthetic practice. In addition, Wen Tong's ink painting and Su Shi's * * * created the theme of "dead wood and bamboo stone" for literati painting. In figure painting, Li has high attainments in appreciation, calligraphy and antiquities, and creatively developed the "line drawing" in the Tang Dynasty into a simple drawing. This colorful line emphasizes calligraphy skills and abstract aesthetic taste, which is more in line with the aesthetic standards of literati. Yun Shan Mo and Mi Dian Tuan, created by Mi Fei and Mi Youren in the Southern Song Dynasty, marked the change of landscape painting from simple to dense, and were inherited and developed by Gao in the early Yuan Dynasty, which had a great influence on literati painting in Yuan, Ming and Qing Dynasties. The situation of the literati in Yuan Dynasty was quite humble, and they abandoned their official career and neglected their personnel. In the Song Dynasty, literati painting, which was mainly the amateur cultural life of official literati, began to be transferred to the hands of opposition literati, becoming a kind voyage for them to transcend their depressed lives and return to nature. The scenery in the painter's mind embodies the painter's ideal of being far away from the world, blends into the painter's indifferent free state of mind, and also permeates helpless depression and indifference. With the Yuan rulers absorbing the adherents of Song Dynasty to participate in the political power and cultural construction, Zhao Mengfu appeared in the artistic exchange between North and South, which influenced the painting atmosphere of the generation in transition. If Su Shi is an active advocate of literati painting, then Zhao Mengfu is the leader of literati painting in Yuan Dynasty. As an art theorist, Zhao Mengfu advocated "taking Yunshan as a teacher", "painting cherishes ancient meaning" and "painting and calligraphy are of the same origin" in Song Xuezhai Collection, which laid a theoretical foundation for the creation of literati painting. Dong Qichang explained: "Zhao (Zhao Mengfu) asked Qian Shunju (Qian Xuan) how can it be called morale? Qian said: "If you can separate the painting history from the painting body, you can fly without ink, otherwise you will go astray and go further and further." It is also extended as: "Literati should draw pictures based on cursive script, with trees like bent iron and mountains like painted sand. This is to boost morale and avoid sweet talk and vulgar ways. Everyone attaches importance to introducing the pen and ink interest of calligraphy into painting, and the sketch lines also have the elegant style of literati. In the painting practice of Yuan Dynasty, the scholar-bureaucrat painters, represented by Zhao Mengfu and Gao, advocated restoring ancient ways and returning to the tradition of Tang and Northern Song Dynasties, and advocated painting with books. Therefore, they set up an atmosphere of yuan painting that attaches importance to verve, ignores meter and pays attention to subjective lyricism. In the middle and late Yuan Dynasty, painters such as Huang, Wang Meng, Ni Zan, Zhen Wu and Zhu Derun carried forward the literati painting atmosphere, promoted the development of painting circles with the aim of relying on freehand brushwork, reflected passive and secluded landscapes, and were popular with themes such as plum, orchid, bamboo, chrysanthemum, pine and stone, symbolizing lofty and faithful personality spirit. Ni Yunlin, its representative figure, has a representative theory of literati painting: "I talk about writing about escaping from the chest, which is nothing more than his paradox, the leaves are numerous and sparse, and the branches are oblique and straight!" Or smeared for a long time, others regard hemp as reed, and servants can't argue bamboo. No one really looked. (Ni Zan: China Zhang Yi painted bamboo) The typical literati landscape painting style was thus formed. Painters in the Ming Dynasty and the early Ming Dynasty were divided into two schools, one was loyal to the tradition of literati painting in the Song and Yuan Dynasties, and the other was retro, that is, Dai Jin, Wei Wu and others who inherited the tradition of garden landscape painting in Ma Xia in the Southern Song Dynasty in the Royal Painting Academy revived in the early Ming Dynasty. However, the literati painting in Ming Dynasty, represented by "wu school", swept away the "retro-style" college painting and pushed the literati ink painting style established by Yuan people to a higher stage. The main figures were Shen Zhou, Wen Zhiming, Tang Yin and Chou Ying. Most of the main members of the five schools of painters belong to the literati with three unique skills of poetry, painting and calligraphy. They are sensitive to sinister occupations or personal experiences, so they are indifferent to literati, traveling in the forest and entertaining themselves with poetry and calligraphy. They are still interested in painting, inheriting the tradition of "morale" and expressing their personality and feelings. The appearance of Dong Qichang in the late Ming Dynasty expanded the new realm of literati landscape painting. At this point, literati painting has matured both in practice and theory, and Dong Qichang summarized it, thus making the traditional landscape painting in China, which is characterized by literati painting, reach a fully mature position. Dong Qichang's greatest influence on painting is that he put forward the theory of landscape painting "Northern and Southern Schools" and "Literati Painting": Literati Painting began in, followed by Dong Yuan, a monk, Li Cheng and Fan Kuan as his sons, while Li Longmian, Wang Jinqing, Min Nangong and Hu Zi all came from Dong Ju and spread to Huang Zijiu, Wang Shuming, Ni Yunzhen and Wu. Ruoma, Xia, Liu Songnian were also sent by General Li, not by him. ("Painting Zen Room Essay? In the origin of painting, the North and South schools use Zen as a metaphor for painting, borrowing the characteristics of Zen Buddhism, which means that the South School of landscape painting advocates morale and emphasizes simplicity and pen and ink, while the North School is a painter's painting, emphasizing skill and similarity; The theory of southern and northern sects emphasizes the concept of literati painting and combs its sectarian system. Judging from Dong Qichang's own painting practice, this means that calligraphy cultivation has been integrated into painting practice. "literati painting should be based on the method of cursive variant"; Replace the modeling principle with pen and ink charm. Dong Qichang also emphasized the "morale" of literati painting. Dong Qichang's theory of southern and northern sects and his painting practice gave birth to a large number of landscape painters in Ming and Qing Dynasties, among which an outstanding one was called "Four Kings and Five Rhymes" in the history of painting. Drawing lessons from Dong Qichang's theory of Southern and Northern Schools, the Four Kings developed and described the Southern School Movement of Landscape Painting. In the name of antique, they systematically summarized the creative practice of southern painting school. In addition to the orthodoxy of the four kings, there are reformists represented by Shi Tao, Badashanren and Yangzhou Eight Eccentrics, the simplicity of Badashanren and the strangeness of Shi Tao. However, in essence, the paintings of Wang Si, Shi Tao, Badashanren and others. They are all different, but they are all to express their pen and ink interest and unique personality. Therefore, the Four Kings Painting School and Shi Tao are two ways within literati painting. First, summarize and refine their creative practice, so that China's paintings will move towards the road of stylization; The other way is to continue the artistic experiment and bold innovation of pen and ink in order to further develop. Both of them have remarkable historical achievements, reflecting the dialectical relationship between change and inheritance. In the Qing dynasty, when literati painting reached its peak, many top literati painters emerged, the most prominent of which were the "four monks", among which Badashanren and Shi Tao were the most prominent. As adherents of the late Ming Dynasty, they expressed the pain of the country's destruction and death in their paintings and calligraphy. Eight strokes are unrestrained, indulgent, concise, exaggerated in shape and cold in artistic conception. Shi Tao tried to observe nature, despised Chen Xiangyin and followed suit as a painter. He advocates "pen and ink should keep pace with the times", "law should stand on its own feet" and "seeking strange peaks and drafting" for life. His thoughts had a far-reaching influence on later generations "Yangzhou School of Painting", "Eight Eccentrics of Yangzhou", Xugu, Zhao, Ren Bonian and Wu Changshuo. Since modern times, there have been three debates about Chinese painting, the core of which is how to treat China traditional painting characterized by literati painting, whether to inherit or abandon it, whether to westernize it or inherit the tradition completely. In the first debate, Kang Youwei, Chen Duxiu and others. It calls for an artistic revolution, which completely adopts western realistic methods to transform painting, while Chen Shiceng and others defend the position and value of China's literati painting and publish the article "The Value of Literati Painting", which systematically summarizes and explains China's literati painting in theory. The second time was that Xu Beihong put forward that "sketch is the foundation of all plastic arts" in the 1940s and 1950s. He advocated that the study of Chinese painting in art colleges must start with sketches, while Pan Tianshou and others advocated that the department of Chinese painting should be restored, and Chinese painting should be developed independently and taught independently without the influence of western painting. For the third time, from the 1980s, Wu Guanzhong put forward the concept of modern painting, trying to completely change Chinese painting. From the creative practice, there are three paths in modern Chinese painting, and each path has produced a master. First, Wu Changshuo, Qi Baishi, Huang, Lu and other painters who completely inherited traditional paintings and constantly explored and innovated; Second, Liu Haisu, Pan Tianshou and Li Keran are based on China traditional painting and learn from western painting skills; The third is to adopt western painting techniques and integrate Xu Beihong and Lin Fengmian from different schools in China and the West. There are many painters in China who are engaged in literati painting and have made some achievements, such as Bian Pingshan, Zhu Xinjian, Wang Heping, Zhao Beixin, Bei Yu, Yiran and Wang Weixin.