The Development of Ancient Painting in China

The original paintings are mostly out of game impulse.

Shunmei is regarded as the ancestor of painting, so she is called painting.

Various painted pottery patterns in the Neolithic Age are the earliest extant paintings of China.

In addition to beautiful decoration, painting also plays the role of respecting morality, merit and education, and is gradually applied to various occasions.

There are not many relics of pre-Qin paintings, mainly tomb murals. Now it is found that some silk paintings in the Warring States period are mostly positive (positive), which is easier to show the main characteristics of the characters; Moreover, multiple roles can be arranged side by side in a picture, which avoids complex sequence hierarchy.

"Dragon and Phoenix Map" uses simple lines and simple colors.

"Imperial Dragon Map" is a single-line sketch, plane drawing and rendering. Its era is later, at the turn of the middle and late Warring States period, the lines are more uniform and smooth, full of rhythm, showing a state of floating clothes and more complicated color settings.

According to legend, Emperor Wu of the Han Dynasty created a secret pavilion and collected famous calligraphy and painting.

The Emperor of the Han and Yuan Dynasties placed a painter on the square. It is said that the painter Mao Yanshou abandoned the market because of the portrait of Wang Zhaojun.

Emperor Han Ming of the East was elegant, set up a painting officer, and ordered painters to paint images such as Ban Gu and Jia Kui. Return the dream image of the golden man; He also made a map around the tower three times on the wall of Baima Temple.

The deeds of famous painters have been recorded since Cai Yong in the Eastern Han Dynasty.

Gu Kaizhi (346-407, or 348-409) was born in Wuxi, Jinling.

Every painter is successful, often after a few years, he said, "the vivid portrayal is blocked." Gu Kaizhi painted a portrait of Pei Kai, and the last three brushes painted three hairs on his cheek, which made the viewer sigh vividly.

"Pictorial" said that Gu Kaizhi used pens such as "Spring Silkworm Spinning" to "dye the faces of characters, embellish them with rich colors, and do not seek dizzy ornaments".

His paintings have been copied in today's edition, such as The True Lady, The Goddess of Luo, The Picture of Qin, The Picture of a Woman, etc.

Lu Tanwei and Zong Bing were the most famous painters in the Southern Song Dynasty.

Lu Tanwei (? —? ), Wu people, called Song and Ming generation. Painting is mainly based on Taoist interpretation of characters, "the handwriting is vigorous and sharp, like a cone knife"; The painted figures are wonderful, but the scenery and vegetation are not too rough and not divorced from the background of figure painting. In a picture, the main purpose is to show the people on the balcony, and the landscape is just an ornament.

Zhang Yanyuan's Notes on Famous Paintings of Past Dynasties: "Since the Wei and Jin Dynasties, his paintings of mountains and rivers are like peaks, and if cymbals are decorated with rhinoceros combs. Or the water can't be flooded, or people are bigger than mountains ... if they are planted, then if they apply for weapons. "

Gu Kaizhi, Lu Tanwei and Zhang Sengyou are also called "three great masters in the Six Dynasties".

The words painted by Lu Tanwei are "beautiful and clear", while those written by Zhang Sengyou are "short and bright".

Zhan Ziqian (about 550-604), who lived in the Northern Qi Dynasty (550-569), the Northern Zhou Dynasty (557-58 1) and the Sui Dynasty (58 1-6 19), was good at drawing figures and depicting subtle colors in detail, with rich meanings.

There is a colorful silk edition of You Chuntu today. On the whole, the picture is composed of a big diagonal line, and the way of change is just right. The upper right bevel is actually empty, and the lower left bevel is actually empty. The slopes of the green hills are opposite to each other and open and close, and the spring water flows upward from right to bottom to left. Draw with thin lines, without a pen, and paint with turquoise to show the beauty of spring.

Although this kind of painting is clumsy and unfortunate, it has entered a new milestone of "green and colorful, skillful and neat", which has a great influence on the later Li Sixun painting school in Tang Dynasty.

You Chuntu by Zhan Ziqian pays attention to the objective distance, height, size relationship and depth between objects, and the mountains are wide and the waters are deep, and tourists are scattered.

It shows that the development of landscape painting has been in proportion, which is completely different from the previous face of "people in Yamanoe can't drown water".

Wu Daozi (about 685-758), later named Wu Daozi, was omnipotent in painting. Drink before painting, stand up and sweep, the situation is like the wind.

Tang Wuzong Huichang (841-846) Zhu's "Famous Paintings in Tang Dynasty: One Man on Immortals";

Wu Daozi was born in Yangzhai, Tokyo (now Yuxian, Henan). Without loneliness and poverty, nature is a gift, age is not weak, and poverty is wonderful. Wandering in Dongluo, Ming Taizu knew his name and asked him to go in and worship.

Wu Daozi is particularly good at numbers. In the early years, the brushwork was acceptable, and in the middle age, it was like a water shield leaf. He changed the iron line drawing with uniform thickness since Gu Kaizhi, and broke through the appearance of "Cao clothes out of water" in the Northern and Southern Dynasties. His brushwork is round and his clothes are fluttering, showing a unique style of "Five Dynasties as the wind". His paintings are simple and light, slightly stained with brown ink marks, which is called "lightly brushing painters".

Wu Daozi's characters are lifelike, and women steal their eyes to talk; People in the Tang Dynasty called his figure paintings "Wu Family".

From Cao Buxing to Wu Daozi, Taoist and Buddhist figures reached their peak.

Wu Daozi painted figures with thin and light facial lines and vivid flesh. The lines of clothes, robes and sleeves are different in thickness and cadence, which will show the dynamic trend floating in the wind incisively and vividly.

Li Sixun created a beautiful scenery. His brother Lisi taught him, and his son, his son Li, and his son Li Cuo were all good at it.

Li Sheng is prosperous, enjoying wealth, and naturally rich.

(65 1—7 18), Zi Jian, from Wuwei, alias General Dali and General Xiao Li.

Its green landscape is magnificent, its brushwork is vigorous and fine, and it seems that it has not completely broken away from the carving habits of the Six Dynasties. The pavilion on the sail handed down from ancient times can reflect Li Sixun's painting style.

After the middle Tang Dynasty, the national situation gradually declined, and social customs changed from magnificent to simple and hard. Influenced by Zen thought, scholar-officials are detached from things. Landscape painting changed from resplendent to light ink, and Wang Wei's broken ink landscape came into being, which was the origin of China literati painting and established the status of landscape painting.

Wang Wei's "Landscape Tactics" said: "Among Taoist paintings, ink painting is the most important. It shows nature and has achieved success."

Wang Wei painted poetically, and his landscape painting became a milestone in the transformation of Chinese painting from religion to literature. Su Shi's Book Ink said: "Taste!"

Rubbings of poems with pictures in them; Look at the picture. There are poems in it. "

Wu Daozi landscape is the liberation and evolution of Jin and Sui landscape, and Wang Wei is the progress of Wu Daozi landscape. In Ming Dynasty, Dong Qichang took Li Sixun as the ancestor of Northern Sect and Wang Wei as the ancestor of Southern Sect.

Wang Qia, who is good at splashing ink on landscapes, is called "Wang Mo" and "Wang Mo".

In his early years, influenced by Zheng Qian's brushwork, Wang Qia was good at brushwork, and later he became indulgent. Splash ink and drop, smear pen, mist, sudden change. Good wine is so wild, sometimes ink is taken from bun to silk.

Yunshan in Mi Fei in the Northern Song Dynasty, the originator of Wang Qia's ink splashing, compromised the rules, so it spread more widely than Wang Mo.

Before the Tang Dynasty, there was no special pommel horse painter.

Emperor Xuanzong of the Tang Dynasty was a good horse, and there were 400,000 horses in the royal stable. Cao Ba, Han Gan and others came into being to draw horses.

Cao Ba, in the last years of Tianbao, wrote a letter to the imperial horse, and the official was General Zuo Wuwei. Du Fu's "Dan Qing presents General Cao Ba" describes: "Be loyal to your art, I don't know my age, and let fame and fortune be like clouds"; "The first emperor had a horse named Yuhua, and artists copied it in various shapes"; "Expect nine dragons to come out, and horses will flow forever"; "If a general is good at painting and covering the gods, he will be photographed by a hundred officials."

Han Gan is from Lantian, Shaanxi.

When I was a child, I was hired by Wang Wei's family to collect wine debts and play with people and horses. Wang Wei was surprised by his interest in painting, and gave him 20,000 yuan a year to study painting in Han Gan for more than ten years.

Tianbaoli asked Han Gan to worship and let him learn to draw horses from Chen Hong. Tang Xuanzong was surprised that his paintings were different from those of Chen Hong. Han Gan explained, "The horses in your majesty's stable are all teachers of the minister." Han Gan has "Horse Wrapping Map" and "White Map in the Night".

Han Kun (723-787), a native of Han Ganzong, had a strong word and a prominent official position. He can draw pictures instead of showing them. The pictures of five cows have been passed down from generation to generation.

Although the figures in the ladies' paintings in the early Tang Dynasty have plump faces, they are slender.

After the prosperous Tang Dynasty, a new "grotesque" artistic style appeared, with full eyebrows and cheeks, which is a realistic portrayal of aristocratic women.

The figure paintings of Zhang Xuan in the middle Tang Dynasty and Zhou Fang in the late Tang Dynasty are typical examples.

Natalie (? —? ), Jing Zhao (now Xi) people. During the Kaiyuan period, he was a painter in the history museum. He was good at figure painting, mainly depicting the rich and lazy life of aristocratic women.

Cinnabar dyeing ears is a typical feature of Zhang Xuan's ladies' paintings.

"The Picture of Madam You Chun of the State of Guo" and "The Picture of Tao Ren" were copied and still exist.

The Picture of Lady You Chun of Guo describes the riding trip of Lady Guo, Yang Guifei's sister, which seems to vividly present Du Fu's poetry on the road: "Acceptance, aloof, sweetness, sincerity, soft skin and fine bones;" Their embroidered silk robes shine in the spring sun, and there are a group of golden peacocks and silver unicorns. " "Cui is the lotus leaf hanging on the lips of the temples", "Beads press the waist and stabilize the body".

The ladies' clothes painted by Zhou Fang are simple, soft in color and plump and charming.

There are three pictures handed down from generation to generation, namely, a picture of a lady with a hairpin, a picture of a lady with a fan, and a picture of a piano and a cup of tea.

It also created a new religious painting style, such as Shuiyue Guanyin, which is called "Zhoujia Style".

In the middle and early Tang Dynasty, paintings were mainly Buddha statues; In the middle Tang Dynasty, mountains and rivers and pommel horses flourished. In the late Tang Dynasty, flower and bird figures flourished.

The landscape paintings in the Tang Dynasty ranged from Li Sixun's meticulous brushwork to Wang Weizhi's light ink, and then to Wang Qia's splash ink. Never write, so grotesque is inevitable.

It is inevitable that you will go wild.

Among the five dynasties and ten kingdoms painters, "Jing Guan Dong Ju" is the most famous. Hao Jing, Guan Tong, absorbed the majestic atmosphere of Guanshan and Luoshan peaks and grasped the simple temperament of the north. Their landscape paintings show a noble and magnificent style.

Hao Jing was born in Qinshui (now Jiyuan, Henan). Living in seclusion in the Red Valley of Taihang Mountain, he calls himself "Hong Guzi" and paints landscapes, trees and stones. Learning not to be human is just entertaining yourself.

His paintings set up concave and convex mountains with prominent lines, giving people a sense of texture, and then rendered with ink and wash, with rigorous brushwork and no trace. "It is good for the top of the mountain in the cloud, with thick sides", "The top of the mountain is good for the dense forest, and the water is a sudden stone". Baizhang dangerous peak stands between green and black, creating a northern landscape painting school that depicts mountains and rivers.

Today's Kuang Lu Tu is regarded as the work of Hao Jing.

Guan Tong, a Zuoguan, was born in Chang 'an and lived in Hou Liang from 907-923 to the early Northern Song Dynasty (960- 1 127).

Guan Tong first studied under Hao Jing, and later gained a young reputation. His landscape paintings are called "official landscapes" because there are not many simple scenes.

Guo called Guan Tong, Li Cheng and Fan Kuan "three unique skills" in "Illustrated Views and Records".

Today, there are "Travel Map of Guanshan" and "Mountain Stream Map" waiting to be crossed in Guan Tong.

The prosperity of the painting circles in the Southern Tang Dynasty, Qianshu, Houshu and wuyue is not only superior to the Five Dynasties, but also not inferior to the Tang Dynasty.

In the Southern Tang Dynasty, the painter wanted to summon the Hanlin. Dong Yuanhe is an outstanding landscape painter, and Zhou Wenju and Gu are famous figure painters.

Dong Yuan (? —962), whose real name is Shu Da, was born in Zhong Ling (now Jiangxi) in the south of the Yangtze River. Li (943-961), a native of Southern Tang Dynasty, was once the deputy envoy of Beiyuan, and was called "Dong Beiyuan".

Dong Yuan wrote the beautiful scenery of Jiangnan with plain and elegant pen, which is plain and innocent and colorful.

Later generations learned from Dong Yuan's painters, and Ju Ran was the first one to learn from them. The world calls it "East Chrysanthemum".

Ju Ran, a monk from Kaiyuan Temple in Jiangning. Landscape painting, the ancestor of Dong Yuan. Follow Li Yu to Beijing and live in Kaibao Temple. "Goodness is foggy weather and the landscape of mountains and rivers, but trees are not their strengths." The scenery he painted is naive, the atmosphere is clear, the pen is clear and the pen and ink are deep. Most of them are alum heads in their prime, and their old age is unremarkable.

Zhou Wenju and Gu in the Southern Tang Dynasty were good at figure painting.

Zhou Wenju (? —? ), Jurong (now Jurong, Jiangsu) people. The late leader Li Bian (96 1-975) was appointed as an academician of the Academy of Painting.

Zhou Wenju is especially good at figure painting, showing the life of the court and literati. Her female painter inherited Zhou Fang in the late Tang Dynasty, which made her more beautiful and rich.

The thin and trembling "war pen" is a typical feature of Zhou Wenju's paintings.

Guo Tu Zhi: "(Zhou Wenju) is an excellent woman. She is closer and more beautiful."

Zhou Wenju has a picture of playing chess with heavy screen, a picture of people in Liulitang and a picture in the palace (copied in the early years of Southern Song Dynasty).

The picture of Liulitang shows Wang Changling singing with Li Bai and Gao Shi in Jiangning Liulitang.

At present, it is generally believed that Song Huizong's Wen Yuan Tu of Han Yun belongs to the second half of Liulitang Tu.

Gu Hong Zhong (? —? ), Jiangnan, Li Yu, the late master, was at the Painting Academy.

Gu was ordered to sneak into Han Xizai Mansion, and his living conditions were drawn as "Han Xizai's Night Banquet".

Xu Xi, a native of Jinling (now Nanjing), is a native of Chu Shi in the south of the Yangtze River.

Visit the garden often and attach importance to sketching. Open-minded and bold, it is unique outside the courtyard painting, and its flower-and-bird painting can be called the ancestor of one hundred generations.

Creating a new painting method of "taking ink as the grid and miscellaneous colors as the supplement", using ink to write branches and leaves, and then adding colors, is based on ink and wash, and uses colors at the same time, which is different from the traditional painting method of highlighting light colors.

Feng Shen is natural and unrestrained, with extraordinary backbone and many hobbies.

Snow bamboo map

Huang Quan (903-965) was born in Chengdu. A famous painter in West Shu gave imperial academy an imperial edict and a purple fish bag.

The yellow flowers and birds are first outlined with extremely fine ink lines, and then filled with ink, so the appearance is not amazing and beautiful. Later generations called his painting method of "sketching and coloring, rich in purport" "double hook method".

Xu Xi and the dead reflect each other and have different styles. As the saying goes, "Huang Jiafu, Xu Xiye Yi." Li knows the method of far and near perspective, and can draw cornices to reflect the effect of looking up at the pavilions on the mountain. It can be seen that the Song people have a lot of experience in the method of far and near light and shade.

A method of representing three-dimensional space on a plane with lines or colors.

"Cherish future generations without textual research, falsely claiming that painting landscapes is a small view, so it ignores perspective. Therefore, after the Song Dynasty, landscape painting became farther and farther away from the natural scenery, and it was inevitable to fall into the situation of fantasy fabricators. "

Fan Kuan inherited Jing and Guan, but he still gave a heavy weight. Li Chengzhi's pen, myopia is like a thousand miles away; Fan Kuan's pen seems close at hand.

Fan Kuan, a native of China, whose real name is Zhongzheng and neutral. Because people are generous, they are called "Fan Kuan". I started with Li Cheng's "Landscape Map" and also learned from Hao Jing. Jing and Guan's bold pen is circulated in Fan Kuan. The top of the mountain he painted is a dense forest, and the water is a sudden stone.

Then he sighed, "It is better not to learn nature than to learn from others." Living in the south and Taihua, I have seen the wonders of various places and have an impression of the scenery, without taking complicated decorations. I put pen to paper, magnificent and old-fashioned, and won a mountain figure.

Fan Kuan painted snow-capped mountains, completely imitating Wang Wei. "A good painting is full of vitality." In his later years, he used too much ink to distinguish between earth and stone.

Since Wang Wei, the landscape has become increasingly dull and secluded, while others have been arrogant. At the same time, although the peaks of Jing and Guan are different, they are deeper than those of Gao and Gu. Fan Kuan inherited Jing and Guan, but he was still thick. Dong Yuan and Li Chengnai came into being, which started the landscape game for hundreds of years from the Song and Yuan Dynasties.

After the Three Masters in the Northern Song Dynasty, Mi Fei and Mi Youren became giants of landscape painting. Mi Fei painted in cursive script, and he used calligraphy as his brushwork. The cloud is hidden in the tree, and it is called "Mi's Yunshan". Mi Youren's "millet" was made by a little change in his father's method and a little smoke. Gong Jie in the Southern Song Dynasty and Gao Inheritance in the Yuan Dynasty are two meters long.

Painting has all jumped into the field of literature in the Song Dynasty, tending to the development of poetic landscape flowers, and no longer paying attention to the efforts of Taoist interpretation of painting. However, in the early Song Dynasty, Seo Woo, Gao Yi, Gao, Wu Zongyuan and other famous artists were inherited.

Guo (1020- 1 109), a painter in the Northern Song Dynasty, was born in wen county, Henan. Zongshen (1068 to 1085) is an art school of the Royal Academy of Painting, waiting for the imperial edict. I especially like Guo's paintings, which are hung everywhere in the palace. The National Palace Museum in Taipei has Guo's Early Spring Picture, which is a classic.

At the end of Jingdezhen, Song Zhenzong (1004-1007), the Jade Qing Zhao Ying Palace was built and more than 0/000 painters were recruited, which was divided into two parts, Wu Zongyuan (? -1050) for the left minister, Wang Zhuo for the right minister.

Critics say: "Wu Yuan learned from Wu Sheng's pen, which made him carefree and beautiful." Wu Zongyuan thinks that the characters painted by Wu Daozi are not without defects. He said: "Wu Sheng painted a heavenly girl with a thick neck and no limp." .

Wu Zongyuan has a picture of immortals fighting in Yuan Dynasty, which has been handed down from generation to generation.

The figure painting in the Northern Song Dynasty reached its peak in the period of Li, Zhang Zeduan.

Li (1049— 1 106) is good at painting with various themes, and his brushwork is like flowing water. Most of the paintings are not colored, and they are painted with Chengxintang paper alone, but they are painted with silk when copying ancient paintings.

Zhang Zeduan (1085- 1 145), a native of Wu Dong (now Zhucheng, Shandong Province), was a famous painter in the Northern Song Dynasty. During the reign of Xuanhe, he served as Hanlin, and was good at drawing buildings, houses, trees and figures. The genre paintings of shops, bridges, streets and battlements are meticulous, accurate and vivid. Existing works include The Riverside Scene at Qingming Festival and The Auction Scene at Jinming Pool, both of which are ancient art treasures of China.

Gu, Lu and Wu Daozi all painted famous paintings in previous lives, so take the painter with the word "Danqing" as an example. At the beginning of a long sleep, the makeup was swept away, light and elegant, and super conceptual. For example, you are more simple than a gentleman, wearing brown clothes and sandals.

Since the coexistence of Xu Xi and Huang Quan in the Five Dynasties, flower-and-bird painting has been able to compete with landscape figures. After entering the Song Dynasty, figure painting declined, while landscape painting and flower-and-bird painting flourished. Huang Ju takes "sketching and coloring" as the genre standard, and Xu Chongsi takes "overlapping colors and coloring" as the leader of the folk opposition.

Huang Quan's son, Huang Jucai, went down to the Song Dynasty with Shu Meng, and soon got the favor of Song Taizong. He was ordered to search and decide on his paintings, and his painting method became a temporary standard.

Brother Xu Chongsi, the grandson of Xu Xizhi, is good at painting flowers, fruits and Cordyceps sinensis. He is neither flashy nor inky, and he is heavily colored, so he is called "Boneless Flower".

Although the country declined in the Southern Song Dynasty, the Northern Song Dynasty Painting Academy did not decrease. Most painters in the Northern Song Dynasty were discharged, while most painters in the Southern Song Dynasty were discharged. In the Southern Song Dynasty, "Liu, Li, Ma and Xia" all came from the Painting Academy.

The green landscape was revived in the Southern Song Dynasty. Zhao Boju brothers, Li Tang, Liu Songnian, etc. As for Ma Yuan and Xia Xuan, although they still took Li Tang as their teacher, the pattern was born out of green mountains and green waters, but they changed their cautious and delicate state by using large brushstrokes of ink and wash, which can be said to reconcile the Northern and Southern Song Dynasties.

Although there were many figure painters in the Southern Song Dynasty, they all followed the old rules and became simpler and simpler, using special ink and wash, special thick brush or special simple brush.

During the Jiatai period of the Southern Song Dynasty (1201-1204), Liang Kai named "Liang Fengzi" was waiting to be summoned by the Academy of Painting. His paintings belong to the Li school, depicting elegance; People in the art academy are not surprised to see its exquisite pen. Those who spread it to the world are sloppy, which is called "reducing the pen."

Kai Liang's pen-reducing and ink-splashing characters are unconventional, drawing clothes lines with light ink first, and then highlighting the folds of clothes with thick ink.

The ink-splashing fairy figure uses ink color on a large scale, strengthens the ink block with a pen, and expresses the noble inner feelings of the characters in the style of washing and refining. At the beginning of the Yuan Dynasty, painters worshipped the Song people, acted in a measured way and did not dare to innovate. The world of painting is full of retro style.

At the beginning of the Yuan Dynasty, Zhao Mengfu was the center of painting, and he strongly advocated retro, which influenced his life. Zhao Mengfu said that "those in the Tang Dynasty want to lose fiber, while those in the Northern Song Dynasty want to lose essence". He flaunted "ancient meaning" and opposed the excessive pursuit of form and detail in the Song Dynasty Painting Academy.

Important painters include Gao, Li Li, Ren Renfa and others.

Huang, Wang Meng, Ni Zan and Zhenwu were painters in the middle and late Yuan Dynasty (1260- 1368) and scholars in Jiangsu and Zhejiang provinces. They learn from Dong and Ju, and express their mood and interest in life by painting, which is called ""and has a great influence on later generations.

Huang (1269— 1354), a native of Changshu, Jiangsu. Landscape paintings are mostly light crimson, and there are many alunite on the mountain. The brushwork is magnificent and the style is rich. Yellow turquoise and ink landscape are rare, and ink landscape lines are few, especially simple and far-reaching brushstrokes. Later, in the Qing Dynasty, the landscape was almost imitated by Huang. However, he only learned his alum head stone and Pimabian, but he didn't know how to sketch and change.

Wang Meng (? -1385) is Zhao Mengfu's nephew, instructed by him, but he can't help it himself. He was one of the four great talents in Yuan Dynasty. Proud works often use several methods. Just because Wang Meng's paintings are too complicated, there are few teachers in later generations. At the end of the Yuan Dynasty, he avoided the Yellow Heshan, hence the name Yellow Heshan Chai. At the beginning of the Ming Dynasty, Hongwu was a magistrate in Tai 'an. He once watched paintings with Huiji and Zhicong monks in Hu, and was later implicated in Hu's death.

Reading pictures in Chunshan

Ni Zan (1301-1374), a rich man in Wuxi, hid in Taihu Lake during the turmoil in the late Yuan Dynasty and early Ming Dynasty. His paintings mainly show the scenery of Taihu Lake.

His paintings are mainly innocent, rarely colored, and the artistic conception is quiet and desolate, with a sense of loneliness.

Wang Meng wins with complexity, while Ni Zan wins with simplicity. Wang Meng's territory is not easy to reach, especially in Ni Zan. Ni Zan's purpose is not to draw pictures, but to write breasts. But he lacks varied beauty, such as a small jasper, which is not beautiful and lovely, but not generous.

Zhenwu (1280— 1354) is good at cursive writing and painting landscapes and bamboos.

The paintings of frustrated literati in Yuan Dynasty pay attention to the expression of subjective interest and pen and ink style, and poetry, calligraphy and painting are further infiltrated and combined, so the paintings of literati and officialdom leap to an important position. Give priority to charm, take freehand brushwork as the method, take pen feeling and ink interest as the lofty ease, and take Park Sujing as the mystery. It is not fun or complicated to write about grievances through painting. However, in painting, it is a bit lazy and tricky. In the early Ming Dynasty, the Zhejiang School was the mainstream and Dai Jin (1389-1462) was the core figure, forming the so-called "Zhejiang School" named after Dai Jin's hometown. It is difficult to distinguish the painting styles of Zhejiang School and Academic School.

After the middle of Ming Dynasty, Wu Pai rose. Shen Zhou, Wen Zhiming, Tang Yin and Chou Ying are collectively called the "Four Houses of Wumen".

Shen Zhou (1427— 1509) lived in seclusion, and began to expand on a large scale in his forties, with stout plants and large leaves. Use Center Xiuying's thick brush to produce a round and healthy effect.

Shen Zhou's "Painting on the High Cliff"

Wen Zhiming Peach Blossom Garden Map

Chou Ying (1502— 1552) was originally a lacquerware craftsman, but later his paintings appealed to both refined and popular tastes. Good at green mountains and green waters.

Influenced by Zhou Chen, Chou Ying began to learn the painting style of the Southern Song Dynasty before he was 40 years old. Later, when he joined the literati circle, his painting style became simple.

Xiao Chun in the Han Palace

In the period of Qin Long, Wanli and Chongzhen, talents from Wumen came forth in large numbers, and Chen Chun, Wen Jia, Wen Boren, Xu Wei, Dong Qichang and Chen Jiru came one after another.

Chen Chun and Xu Wei's ink-and-wash flowers and birds pushed the freehand brushwork flowers and birds to a new stage of development, also known as "green vine and white sun".

Chen Chun (1483— 1544) is studying in Wen Zhiming. The cursive script is magnificent, and it is the first in the late Ming Dynasty. You Miao sketched. A flower and a half, pale ink is luxurious and oblique, but it is very realistic.

Among the late Ming painters, Xu Wei and Zhang Hong were the most influential.

Zhang Hong (later 1577~ 1652) was born in Wuxian (now Suzhou, Jiangsu) and was a master of Paintings of Ming Dynasty. Pay attention to sketching, sharp brushwork, moist pen and ink, mountains and valleys. His painting is characterized by the combination of stone surface and dyeing, and he can draw freehand figures with good form and spirit. He is the backbone of Wumen painting circle in the late Ming Dynasty.

Xu Wei (1521-1593) wrote the poem Grapes: "The pearls at the bottom of the pen have nowhere to sell, so they are left around the wild vines." Self-indulgence, it's not even. Its ink-splashing flowers are vigorous and unrestrained.

In the early Qing Dynasty, the painting of "Four Kings and Five Games" was the most famous.

Wang Shimin (1592- 1686) and Wang Jian (1598- 1677) are both from Taicang, Jiangsu.

Wang Yi (1632— 17 17), a native of Changshu, Jiangsu Province, was appreciated by Wang Shimin and Wang Jian, and was later recommended to the palace.

Wang (1642— 17 15) is the grandson of Wang Shimin.

Wu Li (1632— 17 18), a native of Changshu, Jiangsu Province, studied under Wang Yishi.

Yun Ge (1633— 1690), whose real name is Shou Ping, is a native of Changzhou, Jiangsu, and is a friend of Wang Yi. Flowers, birds and insects, flying with their will, have their own style, and are called "Cloud School" (or "Changzhou School" or "Piling School").

Wu Yun, the four great kings of the Qing Dynasty, was keen on using dry pen to dry ink, believed in Dong Qichang's painting theory, paid attention to copying the ancients, and showed the leisure of literati, ignoring the nature of learning from others.

The painting style of the Four Kings and One School was followed by the ruling and opposition parties in the early Qing Dynasty, especially in the aristocratic scholar-bureaucrat society. Later, many small schools appeared.

At the same time, some painters in the early Qing Dynasty held completely different artistic ideas from the "Four Kings", taking the "Four Monks" as the most typical example, and attached importance to painting real life feelings. "Four Monks" include:

Jian Jiang (1610-1664), a native of Shexian County, Anhui Province, whose legal name is Hong Ren and whose real name is Jian Jiang;

Kun Can (1612-1692) is a native of Liling, Hunan, and has lived in Nanjing for a long time.

Zhu Da (1626— 1705) was born in Nanchang, Jiangxi.

Shi Tao (about1642 ——1718),No. Dadizi, Qing Xiang, etc. Call yourself a bitter gourd monk. In his later years, he settled in Yangzhou to sell paintings.

(1744- 1802) inherited the painting style of some painters of Yangzhou Eight Eccentrics, and influenced later Zhao (1829- 1884) and Wu Changshuo (1844-1).

Zhao will paint flowers with seals and meticulous brushwork.

Wu Changshuo combines flower-and-bird techniques with lithographs, which is vigorous and magnificent.