The difference between Song Dynasty landscape painting and modern landscape painting

(1) Song Dynasty

Before the Song Dynasty, Chinese painting had developed significantly, and the flower-and-bird paintings of "Three Schools of Landscape" and "Xu Huang Tiyi" appeared. The Royal Painting Academy was established in the Song Dynasty. According to Deng Chun, the author of "Hua Ji", Emperor Huizong of the Song Dynasty personally presided over the painting academy and emphasized "shape resemblance" and "standards". Standards meant learning from tradition, and shape similarity meant reproducing objective things in a true and detailed manner. Emperor Huizong of the Song Dynasty took realism and resemblance as his leading ideas and developed a style of fine craftsmanship. The above-mentioned painting styles of the Xuanhe Painting Academy continued to develop in the Shaoxing Painting Academy of the Southern Song Dynasty. Painters pursued realistic images and refined compositions. Generally speaking, the court paintings of the two Song Dynasties pursued a high degree of "realism". Some art historians call the court paintings of the Two Song Dynasties "the pinnacle of oriental realism art". [4] When realistic art develops to its extreme, it can easily go the other way. Some painters with extensive cultural accomplishments in the Song Dynasty discovered this shortcoming, and took a new approach in theory and practice, proposing the theory of literati painting for the first time.

Su Shi was the first to comprehensively clarify the theory of literati painting, which played a decisive role in the formation of the literati painting system. First of all, he put forward the concept of "scholar paintings",

"Looking at the paintings of scholars is like reading the horses in the world, and taking what they feel. But if you are a painter, you often only take the whip, fur, and cud in the stable. There is no handsome hair at all, and the painting of a real scholar of the Han Dynasty becomes tired after just a few feet." ("Dongpo's Postscript to the Paintings of the Han Jies of the Song Dynasty")

Secondly, he elevated the painter Wang Wei. The historical status of Wu Sheng shows his desire to separate literati painters from professional painters (painters):

"Although Wu Sheng is wonderful, he still relies on his painting skills. Mojie got it from the outside of the image, just like the immortal Ge thanking him. "Longfan" (Fengxiang Eight Views? Painted by Wang Wei and Wu Daozi)

Thirdly, he advocated the poetic literati painting style and opposed the painterly style that completely pursued similar shapes:

"Wei Mo" "Jie's poems, there are paintings in the poems. Observe Jie Mojie's paintings, there are poems in the paintings." (Shu Mojie's "Lantian Misty Rain Picture")

"When talking about paintings, we can see children composing poems." This poem is definitely not a poet. The poems and paintings are all the same, and the painting of Bian Luan Bird is vivid. How can there be such two paintings, which are sparse but full of essence? "( Two pieces of broken branches painted by the chief bookkeeper of King Yanling)

From the perspective of painting practice, Su Shi's "Withered Trees and Strange Rocks" can see his aesthetic practice. In addition, Wen Tong's ink bamboo paintings are similar to Su Shi* ** also created the "dead wood, bamboo and stone" literati painting theme. In terms of figure painting, Li Gonglin, who has high abilities in literature, calligraphy and antiquities appreciation, creatively developed the "white painting" of the Tang Dynasty into line drawing. This kind of lines separated from color emphasizes calligraphy skills and abstract aesthetic taste, and is more in line with the needs of literati. aesthetic standards. The original works of "Yunshan Playing Ink" and "Mi Dian Cun" created by Mi Fu and Mi Youren in the Southern Song Dynasty marked the transformation of landscape painting from simple to dense. It was inherited and developed by Gao Kegong in the early Yuan Dynasty and had a huge impact on the literati paintings of the Yuan, Ming and Qing Dynasties. . In the late Southern Song Dynasty, there were Zhao Mengjian and Zheng Sixiao, representatives of literati ink flower and bamboo paintings.

(3) Modern times

Since modern times, there have been three debates about Chinese painting. The core issue is how to treat traditional Chinese painting characterized by literati painting. Should it be inherited or abandoned? Westernization or complete inheritance of tradition. In the first debate, Kang Youwei, Chen Duxiu and others demanded an art revolution and the complete use of Western realistic techniques to transform painting, while Chen Shizeng and others defended the status and value of Chinese literati painting and published an article "The Value of Literary Painting", which Chinese literati paintings have been theoretically and systematically summarized and explained. The second time was in the 1940s and 1950s when Xu Beihong proposed that "drawing is the basis of all plastic arts" and advocated that the study of Chinese painting in art schools must start with sketching. Pan Tianshou and others advocated the restoration of Chinese painting departments and that Chinese painting should get rid of Independent development and teaching influenced by Western painting. The third time was since the 1980s, when Wu Guanzhong put forward the concept of modern painting and revolutionized Chinese painting. From the perspective of creative practice, there are three paths in modern Chinese painting, and each has produced masters.

In addition to allegorizing the objects in their paintings, talented literati also wrote poems and lyrics on the paintings to explain the meaning of the paintings and express their emotions. They were elegant and implicit, and endlessly interesting. Some painters were more explicit and simply got rid of the constraints of poetry and rhyme. The postscript expresses one's feelings directly. Calligraphy can be unrestrained, elegant, simple, or neat. It blends with the style of painting, complementing the picture and text and enhancing the artistic effect. At this time, the seals mostly used ball-shaped inscriptions, idle seals or name seals, white or vermilion inscriptions, and the shapes were either square or round, long or flat, portraits, or objects, some with feet, some with initials, on plain paper and silk. The black and red contrast with the calligraphy, the virtual and the real complement each other, and it is pleasing to the eye, adding an interesting and bookish atmosphere to the painting. Poems, calligraphy, paintings, and seals began to be integrated into one, and poetry and painting were connected. Poetry is an invisible painting, and painting is a tangible poem. The poetry is concentrated in the meaning of the painting and complement each other. This also marks the perfection of the form of literati painting.

Characteristic 2: Pay attention to the introduction of calligraphy into painting, and pay attention to the taste of pen and ink. Literati and painters are almost all calligraphers. During the Southern and Northern Song Dynasties, many great literati appeared, such as Su Shi, Huang Tingjian, Mi Fu and his son, etc., who incorporated calligraphy into painting and practiced and developed their ink painting techniques. Zhang Yanyuan said in "Records of Famous Paintings of the Past Dynasties" that "the character, character, shape, etc. are all based on the conception and the use of the pen, so anyone who can calligraphy can draw." Zhao Mengfu's poem says, "Stones are like flying white trees, and white trees are like clusters. To write about bamboo, you still need eight skills. If someone can do this, you must know that calligraphy and painting are originally the same." Qian Xuan's "Li Ti Er", Ke Jiusi's discussion on painting bamboo "use seal script to write bamboo poles, use cursive calligraphy to write bamboo branches, use eight-point method or Lu Gong's brushwork method to write leaves, use broken hairpin strands to write wood and stone, and leave traces of leakage in the house. meaning". The combination of dots, lines and strokes in calligraphy is not only the basic element that constitutes the artistic image, but also an important object of appreciation with independent aesthetic value. The unique rhythm and rhythm formed by the speed and weight of the brush strokes and the density and thickness of the dots and lines must be able to reflect the painter's unique mentality, temperament and personality in the creative process, and organically combine these with the form and spirit of the things represented. Combined, the heart and hand should be in harmony, and the energy and strength should be in harmony. Although the traces are broken, the energy is connected, and the pen is not round but the intention is round. In terms of color and ink, literati paintings pay more attention to the use of ink, paying attention to the five colors of ink, using the subtle changes of dry, wet, dark, thick, and green ink to summarize the gorgeous nature with pure ink color.

(4) Literati Painting and Zen

Theoretically speaking, Su Shi, who proposed the theory of literati painting, and Dong Qichang, who summarized it, were both influenced by Zen. When Su Shi commented on Sun Wei, he said: "In the Guangming Dynasty of Tang Dynasty, Sun Wei, a Yishi, began to come up with new ideas. He painted huge waves and twists and turns with mountains and rocks. He followed the shape of things and the changes of water. He was known as Shenyi." , is an important idea in Taoist Zen philosophy. To give shape to things is actually to give shape to things with one's heart. Although giving shape to things is natural and allows the world to emerge freely, it is empty and dim, without a thought, not a trace, the meaning is as vague as the white clouds, and the heart The state of swaying like flowing water. Here, Su Shi adopted the "no-thought" philosophy of Zen Buddhism and formed an ethereal and clear aesthetic realm of his own. Su Shi praised the realm of "emptiness" here, "quietness prevents the movement of the crowd, and emptiness absorbs all the realms." ("Send Shen Liushi")?1?

Looking at Dong Qichang again, the theory of the division of sects between the north and the south This is a reflection of his absorption of Zen into painting. The Southern School emphasizes sudden enlightenment and direct penetration, while the Northern School emphasizes gradual progress, process and skill. Dong Qichang relied on the theory of the division of sects between the north and the south to advocate the south and suppress the north, and advocated the literati painting style. The theory of the North-South division also emphasizes Miaowu as the fundamental method of artistic creation through the analysis of artificiality and Miaowu. To a certain extent, it can be said that the emergence of Zen Buddhism and the Southern Zen Buddhism changed the development direction of Chinese art. Zen is based on the sect principle of "teaching external teachings, without establishing words. Directly pointing to the original heart, seeing one's nature and becoming a Buddha" is an important feature of Zen. Dong Qichang and others used literati paintings to belong to the Southern Sect, and craftsman paintings to the Northern Sect. Nanzong paintings emphasize wonderful enlightenment, as Dong Qichang said, "One transcendence goes straight to the land of the Tathagata." According to advocates of the Southern Sect, art relies on a kind of understanding. Without this kind of understanding, no matter how diligent, step-by-step, and exhaustive, it will ultimately be insulated from true art. ?2? Throughout the practice of Chinese painting, there are also literati Zen painters. For example, Yujian in the Southern Song Dynasty, Wen Riguan and Fachang in the early Yuan Dynasty all applied Zen concepts to painting practice. The Four Monks in the early Qing Dynasty also reflected the fusion of Zen Buddhism and painting to a certain extent.

(4) Summary

“Chinese literati painting” is a broad concept. Just as there is no clear boundary between "literati" and non-literati, there is no absolute standard for dividing literati paintings from non-literati paintings. It is also difficult to determine when literati paintings originated. However, it should also be noted that literati painting first appeared as a painting style opposite to academic painting. In the long-term historical evolution process, literati painting also formed a rough system and established a set of iconographic meanings and style norms. The art system and technical standards have established their own relative evaluation standards, and this system and standards are rooted in Chinese culture and philosophy, and have a close and inseparable connection with Chinese calligraphy. It has the characteristics of attaching great importance to the interest of pen and ink, reflecting the taste of literati, combining poetry, calligraphy, painting and seal, and incorporating calligraphy into painting.

The discussion of "literati painting" has been the hottest topic in the Chinese painting and cultural circles since the 20th century, from Kang Youwei to Chen Duxiu and Lu Xun, from Chen Shizeng to Lin Fengmian and Xu Beihong, and even to today's scholars. , artists have expressed many penetrating opinions, and there are different opinions on it, including praise and criticism. But one thing seems to be certain now, that is, literati painting, as a painting category, a method of expression, or more accurately as an aesthetic pursuit, is a precious part of our national artistic heritage. Its inner spirit and form Language will always be a treasure in the treasure house of human art.

Reference: /data/detail.php?id=6729

Answer: Moyan Michen - Juren Level 4 11-14 18:34

The questioner's evaluation of the answer:

Thank you Haha, thank you very much for asking the classmate

The evaluation has been closed. There is currently 1 personal evaluation

Good

0 (0) Not good

100 (1)