How do you understand literati painting and what is the meaning of literati painting?

Literati painting is also known as "Shifu painting", the author is mostly literati scholar class. Most of their paintings are sent to express their feelings, the pursuit of subjective interest in the performance, opposed to too much adherence to the depiction of the shape of the force smooth to wash away the lead and tend to be plain and fresh style of art.

As early as the two Jin dynasties, some painters in the creation of certain creative ideas and artistic pursuits, such as Wang □ "painting is my self-painting" idea, Zong Bing's "smooth God", Wang Wei's emphasis on the creation of the emotional component, as well as the "form and spirit" of Gu Kaizhi. Wang Wei's emphasis on the emotional component of creation, as well as Gu Kaizhi's theory of "form and spirit" and so on, should be regarded as the goblet of literati painting.

Poetry was prevalent in the Tang Dynasty, and the great poet Wang Wei not only pioneered ink painting, but also used poetry as a medium for painting, making him the originator of literati painting.

Dong Yuan and Ju Ran in the Fifth Dynasty pursued the plainness and innocence of landscape painting and the rhythm of ink and brushwork, which in turn provided direct artistic norms for the development of literati painting.

In the Northern Song Dynasty, Wen Tong, Su Shi, Mi Fu, and others opened their eyes to literati painting in creative practice and theoretical criticism, and their influence made literati painting an influential artistic trend that began to diverge from the painting of the Academy and the painting of the artists. Su Shi and Mi Fu practiced and developed their ink painting skills by incorporating calligraphy into their paintings on the basis of Wang Wei's ink paintings. At this time, Su Shi's concept of "scholar's painting" took literati painting one step closer to maturity.

The heyday of literati painting was in the Yuan Dynasty. The Yuan rulers emphasized the military over the literati, resulting in a large number of literati painting. In the art of advocating "elegance", "bland naivety", "quiet and light", theoretically advocate "easy brushwork", "do not seek to look like" Theoretically, the artist advocated "easy brushwork", "not seeking resemblance", and "chatting about writing in the chest". This period of poetry and seal letters also gradually into the picture. Not only formed part of the layout, but also more directly express the author's voice. Zhao Mengfu and Ke Jiushi emphasized the use of books in painting, Qian Xuan put forward the idea of "morale", Ni Zan advocated the idea of "self-indulgence", and more painters took the symbolic plum, orchid, bamboo, and chrysanthemum (historically known as the "Four Gentlemen") as their own expression. More painters took the symbolic plum, orchid, bamboo, and chrysanthemum (known as the "Four Gentlemen") as their subject matter for their own expression, and used them to show off their personal integrity and sentiments. In this way, the painter's subjective consciousness was further strengthened, and the artistic concepts and aesthetic ideals of the literati were more prominently expressed in their creations. Poetry, calligraphy, painting and sealing became one, poetry and painting were linked, poetry was invisible painting, painting was tangible poetry, poetry was injected into the painting to complement each other, which marked the perfection of literati painting.

The early Ming Dynasty was still a period of continued development of literati painting, and in the middle and late Ming Dynasty, Dong Qichang, who was a theorist and painter, further put forward the theory of "scholar painting" based on Su Shi's theory of "scholar painting", which was divided into north and south and literati painting theory, and the name of literati painting was formally put forward and used. At this time, literati painting has risen to a dominant position in the painting world, and directly affected the basic pattern of Qing Dynasty painting and aesthetic orientation, forming a unique national characteristics of the painting system.

The Qing Dynasty was the heyday of literati painting, and many top painters emerged. The most prominent was the "Four Monks", and among the "Four Monks", Bada and Shitao were the most prominent. As remnants of the late Ming Dynasty, they symbolized the pain of the country's destruction in their paintings and calligraphy. Shi Tao advocated that "ink and brush should follow the times" and "the law of self-establishment", which had a profound impact on the later generations.

Literati painting was also influenced by Zhao Zhiqian and Wu Changshuo to modern Qi Baishi and Pan Tianshou.

The characteristics of literati painting are:

1. Literati painting is a humanistic art that combines the essence of poetry, calligraphy, painting and printing. Literati painting authors are mostly scholars, poets, and painters, "poetry can not be exhausted, overflow for the book, change and painting", painting literary. Poetry into painting, more emphasis on the use of poetry to write the mood of the painting. Calligraphy was introduced into painting, advocating the compatibility of calligraphy and painting, and emphasizing the written nature of the brushwork. Inscriptions and seals began to become an important part of the content and form of the painting.

2. Literati paintings emphasize on painting qi, i.e., the connotation of qi. Literati painters pay attention to the expression of concepts and emotions, emphasizing subjective and individual self-expression.

3, painting techniques, literati painting heavy ink and light color, the use of ink wet and dry, thick and thick, thick, pale and moist subtle changes, reflecting the "light but not thin, thick but not cloudy, pale but not withered, moist but not slippery" flavor. Literati paintings also emphasize simplicity, "counting white as black", giving people an endless feeling of profoundness and longevity.

4, the subject matter is mostly birds and flowers, mountains, fishermen and hermits, and so on, personalized expression of plum, orchids, bamboo, chrysanthemums, pines, stones, and so on, so as to send the painter's emotions and spirit.

In a word, literati painting is poetic and picturesque in its function of expression, natural and wild in its subject matter, pictorial in its point of view, and interesting in the nature of its expression outside the imagination. It shows the cultivation and life course of literati painters, and is the presentation of a soul.

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The characteristics of literati painting

Painting purely in the form of ink and wash has been documented before the Tang Dynasty, but the rise and development of literati ink painting began at the end of the Southern Song Dynasty, and the authors were mostly of the literati scholar class. Literati painting is characterized by:

1, the author is mostly scholars, poets, but also painters, "poetry can not be exhausted, overflow for the book, and change for the painting". Painting literary, inscription and seal began to become an important part of the content and form of the picture. Poetry into painting, more emphasis on the mood of the poem and the use of poetry to title the painting. Calligraphy was introduced into painting, advocating the compatibility of calligraphy and painting, and emphasizing the written nature of the brushwork.

2. Literati paintings emphasize the expression of concepts and emotions, the free flow of God, lyricism, and Xing, emphasizing subjective and individual self-expression, and borrowing objects to express ambition and interest.

3. Literati paintings are heavy on ink and light on color, heavy on the interest of ink and brushwork, light on the intentionality of similarity, heavy on dashing and refined, light on the red tape and slenderness, heavy on naivety and light, light on the rich and colorful work.

4, personified the expression of plum, orchid, bamboo, chrysanthemum, pine, stone and so on, so as to send the painter's emotion and spirit, became an important subject of literati painting, and became a trend.

Important representative painters include Su Shi, Wen Tong (Figs. 4-8), Zhao Mengjian, Zheng Sishao, Yang Wugui, Ke Jiusi, Li Diffractor, Gao Kegong, Wang Sash, and Xia Chang. The rise and development of literati painting further refined the national painting tradition.