When did you pursue the beauty of nature?
1. The Painting Style of the Song Dynasty Painting Academy
①Song Painting Academy
In Chinese history, during the Yin and Shang Dynasties, the court had a special agency to manage art talents. Since the Tang and Five Dynasties, the division of labor has gradually become clearer, and the division of labor has gradually become clearer. The painting academy appears. The former and later masters of Xishu attached great importance to painting, and the painting academy system was more complete. Gao Daoxing, Huang Quan, Huang Jucai and others in the Song Dynasty were all famous painters in the Academy. During the Song Dynasty, the painting academy system was the most complete.
When Emperor Huizong of the Song Dynasty looked like Zhao Ji, he established a painting major and established the first Royal Painting Academy in Chinese history. As a subject of painting, professional courses include Taoism, Figures, Landscapes, Birds and Beasts, Flowers and Bamboos, and House Art. Public courses include "Shuowen" and "Erya". The Academy of Painting’s criteria for selecting a scholar are “one who does not imitate his predecessors, but whose moods and shapes of objects are all natural, and whose brushwork is noble and pure”.
②Huang's Flowers and Birds
Huang Quan is a representative painter of flower and bird paintings in the Song Dynasty. He was already a famous artist in the Southern Tang and Western Shu. The themes and techniques of his paintings reflected the At the request of the court nobles, the works are known for their richness and craftsmanship. After the unification of the Northern Song Dynasty, Huang Quan entered the Song Painting Academy, and his painting style became a model for the flower-and-bird painting of the Academy.
Because Huang School's flower and bird paintings conformed to the aesthetic requirements of emperors and nobles, they became the standard painting style of the academy for a while, and "the more skilled artists regarded Huang's system as superior or inferior." Huang Jucai, Huang Quan's son, was the most favored by the royal family. His paintings inherited his family learning and developed. His painting style is bright and delicate, and he paints flowers and feathers, which is wonderful in its innocence. "Mountain Partridge and Thorn Bird" is his only remaining authentic painting. The birds and hamlets shown in this painting are first sketched and then colored. The lines are clear, delicate and vigorous, and the skills are very deep.
③Jing Hao, the master of landscape painting
The Five Dynasties and Song Dynasties were an era when landscape painters emerged in large numbers. These landscape painters inherited and developed the excellent traditions of landscape painters in the Southern and Northern Dynasties, Sui and Tang Dynasties, pushed the art of landscape painting to unprecedented heights, and became models for landscape painters of the Yuan, Ming and Qing dynasties to study hard.
Several great painters such as Jing Hao, Guan Tong, Dong Yuan and Ju Ran appeared in the landscape painting circle of the Five Dynasties. They created the style of northern and southern landscape painting.
Jing Hao painted the scenery of the Taihang Mountains, Guan Tong painted the scenery of Guan and Shaanxi, and Dong Yuan and Ju Ran painted the landscapes of the south of the Yangtze River. They all created their own unique and new expression techniques and became excellent examples of traditional Chinese landscape painting.
Jing Hao, courtesy name Haoran, was born in Qinshui. "Kuanglu Picture" is a masterpiece by Jing Hao. The picture depicts the scenery of Mount Lushan and its surrounding areas, with numerous mountains, winding mountain roads, giant peaks soaring in the sky, waterfalls, and varied trees according to the terrain of the mountains and rivers. The shape of the rocks is expressed with fine and changeable chaffing brushwork, expressing the artist's reverence and admiration for the majestic Mount Lushan.
Based on his personal creative experience, Jing Hao also wrote a theory on landscape painting - "Brushwork Notes" that discusses painting techniques, which formed a complete system of Chinese ink landscape painting. The article puts forward the "six essentials" of painting: Qi, rhyme, thought, scenery, brushwork and ink. Only when the "six essentials" are met can one be able to draw the "spirit" of landscape painting and reach the highest state of landscape painting - truth. He also proposed four criteria for evaluating landscape paintings: magic, wonder, ingenuity and skill. Jing Hao's paintings had a great influence. Guan Tong, who had achieved success at that time, also studied with him. Li Cheng and Fan Kuan of the Northern Song Dynasty both had a relationship with Jing Hao. Ni Zan and Huang Gongwang in the Yuan Dynasty and Tang Yin in the Ming Dynasty also unanimously respected him as the master of landscape painting.
④Three Schools of Landscape Painting
In the early Song Dynasty, Li Cheng, Guan Tong and Fan Kuan were the main representatives of landscape painting. All three masters studied under Jing Hao. Guan Tong's steep paintings, Li Cheng's Kuanglu Tu Kuangyuan and Fan Kuan's heroic figures represent the three styles of landscape painting in the early Song Dynasty.
Li Cheng (919-967), a descendant of the Tang clan. His artistic personality is mainly reflected in the description of the distant scenery of the smoke forest, "scanning thousands of miles at a glance, and writing thousands of hectares under the fingertips." His representative works include "Picture of Xiao Temple in Qingluan" and "Picture of Reading Stone Tablets". "Qingluan Xiaosi Picture" is divided into far, middle and near compositions, with the main peak as the center, and the rocks on the left and right sides are evenly arranged. The donkey rider in the lower left corner draws the viewer's sight into the center of the picture. The cold forest on the mountain rocks adds to the desolate atmosphere of autumn and winter.
Fan Kuan (about 950-1027) was named Zhongzheng and was from Hua Yuan.
His artistic creation is greatly influenced by Taoist aesthetics. He has lived in Zhongnan Mountain for a long time and often wanders in mountains, rivers, cliffs and valleys to appreciate the beauty of mountains and rivers. He condensed his feelings for the mountains and rivers into his painting brush, "the mountains and rivers convey the spirit". His "Travel to Streams and Mountains" is an excellent example of ancient landscape painting.
⑤Green Landscape Painting
In the late Northern Song Dynasty, green landscape painting in landscape painting entered a mature period of development. The main representative works are Wang Ximeng's "Thousands of Miles of Rivers and Mountains" and Zhao Boju's "Autumn Colors of Rivers and Mountains" .
The "Thousand Miles of Rivers and Mountains" is 12 meters long. It is a panoramic view of green mountains and rivers. It is grand in spirit and rigorous in composition. It fully embodies the advantages of scattered perspective in Chinese paintings. The splendid mountains and rivers are all in sight, giving the viewer a good impression. The visual effect makes people feel relaxed and happy. This painting uses the traditional outline method of green landscapes in its form of expression, and the colors of various mountains, rocks, water, and vegetation are unified and varied. For example, the upper half of the sky is painted cyan, which becomes lighter as you go downwards. This not only makes the outline of the mountain clear, but also gives the impression of the setting sun. The use of color is very successful.
"Autumn Colors of Rivers and Mountains" is a painting with vigorous and delicate brushwork and ingenious layout. Its style has both the magnificence of green landscapes and the "elegantness" of literati paintings; it shows the transition from "big green" to "big green". "Little green" transition trend.
2. The rise of literati painting
① Mi's landscape painting
Due to the influence of the "literati ink play" style in the mid-Northern Song Dynasty, a new landscape painting school emerged by the end of the Northern Song Dynasty, namely The so-called "Mishi landscape".
Mi Fu was originally from Taiyuan, Shanxi, and later moved to the south of the Yangtze River. The scene of the cloudy mountains and smoke trees along the Yangtze River inspired him, and based on Dong Yuan's painting methods, he formed his subtle and empty charm. When he painted, he did not stick to shapes and colors, and mostly used smoke and clouds to hide trees and rocks, just to achieve a similar meaning. Mi Fu's son Mi Youren inherited his father's legacy and has a small number of works handed down from generation to generation. Among them, "Mountain Ink Play Pictures of Yunshan" and "Album of Xiaoxiang White Clouds" are his masterpieces handed down from generation to generation.
②Li Gonglin, the master of figure painting
In terms of painting style, Li Gonglin is a scholar-official painter. Li Gonglin was a native of Shucheng, Anhui Province. He was active during the Xining and Yuanfeng years (1068-1085 AD) when literati and scholars had frequent contacts and the style of scholar-bureaucrats' ink opera was prevalent. His greatest contribution to painting is to embody the literati interest in character and story paintings. In terms of painting form, he vigorously explored the art form of "line drawing". Strong and vigorous, it is known as the "unique art in the world". His handed down works include "Vimalakirti Picture", "Five Horses Picture", "Linweiyan Herding Picture", "Xiyuan Gathering Picture", etc. Among them, "Xiyuan Gathering Picture" depicts Su Shi, Mi Fu, Huang Tingjian and other literati were talking about Zen, writing poems and paintings in the garden of Prince Consort Xian's house. The composition of this painting and the way of expressing characters became a popular format for later portraits of literati and officials.
③"Reduced Brush Ink"
In the Song Dynasty, "Reduced Brush Ink" complemented the art of line drawing, and its representative figures were Liang Kai, Fachang, etc. On the basis of Shi Ke's work in the early Song Dynasty, Liang Kai developed ink stroke reduction, and "Taibai Chanting Picture" is his representative work. In addition, he also used a splash-ink freehand painting method to enrich the expression techniques of traditional Chinese figure painting. His main works include "Picture of Splashed Ink Immortal", "Picture of the Sixth Patriarch Cutting Bamboo", etc.
3. A portrayal of urban customs - "Along the River During the Qingming Festival"
In the Song Dynasty, with the development of urban economy and the expansion of the citizen class, a large number of genre paintings based on the life of "common people" in urban and rural areas began to appear. At that time, Wang Juzheng, Li Song, Su Hanchen, etc. were all masters of genre painting, and Zhang Zeduan's "Along the River During the Qingming Festival" showed new achievements in genre painting.
Zhang Zeduan, also known as Zhengdao, was an outstanding figure and genre painter in the late Northern Song Dynasty. He worked at the Academy of Painting, and "Along the River During the Qingming Festival" is his immortal masterpiece. The whole picture is 525 centimeters long and 25.5 centimeters wide. By depicting the activities of people from all walks of life on both sides of the Bianhe River in Bianliang, the capital of the Northern Song Dynasty, with Hongqiao as the center during the Qingming Festival, the author reflects a scene of social life during this period. A long scroll of genre painting with historical and artistic value.
Works that reflect the popular life in the city include Wang Juzheng's "Textile Picture", Li Song's "Salesman's Pillar Picture" and Su Hanchen's "A Hundred Children Playing in Spring" and "Infants Playing in the Autumn Garden", etc.