Usually, "literati painting" is based on landscapes, flowers, birds, orchids, bamboos, chrysanthemums, wood and stones, etc., so as to express one's "spirit" or personal ambition, and
it also implies the oppression of the nation or the resentment of decadent politics. They extol "morale" and "yi pin", advocate the taste of algae, stress the interest of pen and ink, get rid of the similarity, emphasize the charm, and attach great importance to the cultivation of literature and calligraphy and the creation of artistic conception in painting. Mang Fu Yao's Preface to the Study of Literati Paintings in China once had a high evaluation: "You Cheng (Wei), the king of the Tang Dynasty, helped the poems to enter the paintings, and then the interest was born by the pen, and the method was changed at will. It is not necessary to talk about the palace merchants, but the hills and mountains are all rhyming, and the righteousness is not necessary to compare with the prosperity." Literati paintings of past dynasties have a considerable influence on the aesthetic thought of Chinese painting and the development of ink painting, freehand brushwork and other techniques. [3] Painting is a form of painting with literati interest and literati thoughts, which is called literati painting. It contains three aspects of Chinese painting: mountains and rivers, flowers and birds, and people juxtaposed, and it is not different from painting or writing in terms of techniques. He is a good intersection of landscape, flowers and birds and figures in China's painting. When Chen Hengke explained literati painting, he said, "We should not pay attention to art in painting, but must see the feelings of many literati outside painting". This is called literati painting or painting by literati, knowing that painting is a thing. It is also a spiritual person, a thinker, an activist, a non-instrument person, and a non-pure person. " Literati painting is literary, philosophical and lyrical. In traditional painting, its unique "elegance" is different from craftsman painting and courtyard painting, and it is unique. [4] For example; Zhang Daqian, Wang Yachen, Wu Hufan, Qi Gong and Wang Dezu are all representatives of literati painting.
The literati painting
The Five Dynasties Dong Yuan's
Map of Longsu Suburbs can be traced back to the Han Dynasty, and both Zhang Heng and Cai Yong have painting names. Although the paintings are not handed down from generation to generation, they are recorded in ancient books. During the Wei, Jin, Southern and Northern Dynasties, Yao Zui's "not learning to be a man, just entertaining himself" became the central argument of literati painting. Scholars of all ages respected it as the purpose of painting. Zong Bing's ambition is to "view the Tao with a clear mind and lie down to swim". It fully embodies the mentality of 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 have become models for later literati painters. There are pictures in poems, and there are poems in paintings. It has become a common practice and has been passed down from generation to generation. Before the Song Dynasty, China's paintings had made remarkable progress, and there were "three landscapes" and "Xu Luti's different" flower-and-bird paintings.
Song Dynasty
Song Dynasty established
Northern Song Dynasty Fan Kuan's "Sitting Alone in the Riverside"
Royal Painting Academy. According to Deng Chun, the author of "Painting Following", Song Huizong personally presided over the Painting Academy, emphasizing "likeness" and "testimonies". The testimonies were to learn the tradition of
Seeing the Spring and Listening to the Wind Map by Tang Yin in Ming Dynasty, and the likeness was to truly and meticulously reproduce objective things. Song Huizong takes realism and likeness as the leading ideology, and develops the style of meticulous carving. The above-mentioned 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 composition. Generally speaking, the court painting in the Song Dynasty pursues a high degree of "realism", and some art historians call the court painting in the Song Dynasty "the pinnacle of oriental realism". Realistic art is easy to go to the opposite side when it develops to the extreme. In Song Dynasty, some painters with extensive cultural accomplishment discovered this shortcoming, and found a new way 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 "scholar painting". "Looking at scholar painting is like reading the horses in the world, taking what one feels. However, if you are a painter, you often just take a nap in the fur trough, and you will be tired after seeing a few feet. Han Jiezhen
Su Shi's "Dead Wood and Strange Stones"
Scholars' paintings. " ("Dongpo Inscription and Postscript Song Hanjie's Painting"), secondly, he raised 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. It' s like a fairy to thank Long Fan. " (Eight Views on Fengxiang Wang Wei's Wu Daozi Painting) Thirdly, he advocates the poetic and picturesque style of literati painting, and opposes the painter's style of completely pursuing the shape. "There are paintings in poetry. Watch the painting, there are poems in the painting.
From the perspective of painting practice, Su Shi's "Dead Wood and Strange Stones" can show his aesthetic practice. In addition, Wentong's ink and bamboo drawings and Su Shi's * * * created the theme of literati painting. In terms of figure painting, Li Gonglin, who has great ability in appreciating Gao Wenxue, calligraphy and antiquities, creatively developed the "white painting" in the Tang Dynasty into a simple drawing. This line that is out of color puts more emphasis on calligraphy skill and abstract aesthetic taste, which is more in line with the aesthetic standards of literati. Mi Fei and Mi Youren in the Southern Song Dynasty created "Yun Shan Xi Mo" and "Mi Dian Tuan", which marked the change of landscape painting from simple to dense, and was inherited and developed by Gao Kegong in the early Yuan Dynasty, which had a great influence on literati painting in Yuan, Ming and Qing Dynasties.
Yuan Dynasty
Yuan Zhen Wu's Fisherman's Map
Yuan Zhen Wu's
The literati were in a rather humble situation, and the literati gave up official career and neglected personnel. In the Song Dynasty, literati paintings, which were mainly used as the amateur cultural life of official literati, began to be transferred to the hands of opposition literati, becoming their kind voyage beyond the depressed life and returning to nature. The landscape in the painter's heart embodies the painter's ideal of being far away from the world, blends into the painter's free state of mind of being indifferent to nature, and also permeates the helpless depression and indifference.
With the Yuan rulers absorbing the adherents of the Song Dynasty to participate in the political power and cultural construction, Zhao Mengfu emerged in the art exchange between North and South, which influenced the painting atmosphere of a generation in the transformation. If Su Shi was an active advocate of literati painting, then Zhao Mengfu was the leader of literati painting in Yuan Dynasty. As an art theorist, Zhao Mengfu advocated "taking Yunshan as a teacher", "painting is expensive with ancient meaning" and "painting and calligraphy are of the same origin" in Song Xue Zhai Ji, which laid a theoretical foundation for the creation of literati paintings. Dong Qichang explained: "Zhao Wenmin (Zhao Mengfu) asked Qian Shunju (Qian Xuan) how he could be called morale. Qian said, "If you can distinguish the history of painting from the body, you can fly without ink, or you will go astray, and the more you work, the farther you will go." It is also extended as: "When scholars paint, they should take the method of cursive script as the basis, and the trees are like bending iron, and the mountains are like painting sand. It is for morale to avoid the sweet and vulgar ways. Everyone attaches importance to introducing the pen and ink interest of calligraphy into painting, and sketching lines also has the elegant style of literati.
In the painting practice of Yuan Dynasty
Huang Gongwang's Fuchun Shan Jutu
was a scholar-bureaucrat painter represented by Zhao Mengfu and Gao Kegong in the early Yuan Dynasty. Advocating retro, returning to the tradition of Tang Dynasty and Northern Song Dynasty, and advocating painting with the brushwork of calligraphy, therefore, the yuan painting atmosphere of attaching importance to charm, ignoring rhythm and paying attention to subjective lyricism was established. In the middle and late Yuan Dynasty, painters such as Huang Gongwang, Wang Meng, Ni Zan, Wu Zhen and Zhu Derun carried forward the literati painting atmosphere, promoted the development of painting circles with the aim of relying on freehand brushwork, reflected the secluded landscape of passive seclusion, and became popular with themes such as plum, orchid, bamboo, chrysanthemum, pine and stone, which symbolized lofty and faithful personality spirit. Ni Yunlin, its representative figure, has a representative theory of literati painting: "Yu Zhizhu's talk to write about escaping from the air in his chest is no more than his paradox, the complexity and sparseness of leaves, and the inclination and straightness of branches!" Or smeared for a long time, others regard hemp as a reed, and servants can't argue for bamboo. There is really no one to look at. " (Ni Zan: "Zhang Yi Painting Bamboo in China") The typical style of literati landscape painting was thus formed.
in the Ming dynasty
in the early Ming dynasty
in Tang Yin's
Painting of Apricot Blossoms, painters were divided into two groups: one group was loyal to the tradition of literati painting in Song and Yuan Dynasties; The other school is the retro school, that is, Dai Jin, Wei Wu and others who inherited the tradition of "Maxia" courtyard landscape painting 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 the "Wu Men School", swept away the "restored" courtyard painting, and pushed the literati ink painting style established by the Yuan people to a higher stage, with Shen Zhou, Wen Zhiming, Tang Yin and Chou Ying as its main figures. Most of the main members of Wu Pai's painters belong to the literati who have three unique skills in poetry, painting and calligraphy. They are sensitive to or personally experience the sinister career, so they are indifferent to the scholars and travel in the forest to amuse themselves with poetry, painting and calligraphy. They are still interested in painting, inheriting the tradition of "morale" and expressing their own character and feelings.
The Green Landscape Map by Zhang Hong in the Ming Dynasty
The appearance of Zhang Hong 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 Zhang Hong summarized and innovated it, thus making China traditional landscape painting with literati painting as its main feature fully mature. Zhang Hongzhi's greatest influence on painting lies in his emphasis on inheriting the ancient tradition of pen and ink, and taking the pursuit of style as an important purpose of art. Moreover, because of his profound cultural accomplishment and his own aesthetic pursuit, he is also creative. Zhang Hong's pen and ink skills and expression techniques had a great influence on later painting circles. A number of outstanding painters have emerged who learn from nature and attach importance to sketching.
From Wanli to Chongzhen (1628 ~ 1644), there was a new turn in the field of painting. Xu Wei further improved the freehand brushwork of flower-and-bird painting. Chen Hongshou, Cui Zizhong, Ding Yunpeng, etc. pioneered the method of drawing deformed figures. Suzhou painters, represented by Zhang Hong, have found a new way in literati landscape painting and created paintings full of life flavor. On the basis of inheriting wu school's style and characteristics, they innovated, returned to nature, sketched in the mountains, learned from nature, and realized the true meaning of painting. In the painting, the transcendental spiritual realm is reflected, which makes the landscape painting come alive.
Zhang Hong's theory of sketching and his natural painting practice have nurtured a large number of landscape painters in Ming and Qing Dynasties, among which the outstanding ones are the innovators represented by Shi Tao, Badashanren and Yangzhou Eight Eccentrics, as well as the four kings and Wu Yun. Although there are differences in the paintings of Si Wang and Shi Tao, Badashanren and others, they are all aimed at expressing their own pen and ink interests and unique personalities. Therefore, Si Wang and Shi Tao are both internal ways of literati painting. One is to summarize and refine their creative practice, so that China's painting will move towards a stylized road; 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 and reflect the dialectical relationship between change and inheritance.
Qing Dynasty
In the heyday of literati painting in Qing Dynasty, many top literati painters emerged, the most prominent of which were the "Four Monks", among which Badashanren and Shi Tao were the most prominent
Zheng Banqiao's Bamboo and Stone Painting [5]
. As adherents of the late Ming Dynasty, they expressed the pain of the country's ruin and death in their paintings and calligraphy. The eight brushstrokes were unrestrained, indulgent, concise and 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 advocated "pen and ink should keep pace with the times", "law should stand on its own" and "search for strange peaks and draft" for life. His ideas had a profound influence on the later Eight Eccentrics of Yangzhou ("Yangzhou School of Painting"), Xugu, Zhao Zhiqian, Ren Bonian and Wu Changshuo.
Modern Times
Ren Bonian's Four Screens of Flowers and Birds
Since modern times, there have been three debates about Chinese painting. The core issue is how to treat China's traditional painting, which is characterized by literati painting, whether to inherit or abandon it, westernize it or completely inherit the tradition. In the first debate, Kang Youwei, Chen Duxiu, etc. demanded an art revolution, and completely adopted western realistic methods to transform painting, while Chen Shiceng and others defended the status and value of China literati painting, and published the article "The Value of Literati Painting", which systematically summarized and explained China literati painting in theory. The second time was that Xu Beihong put forward "Sketch is the foundation of all plastic arts" in the 194s and 195s. He advocated that the study of China's painting in art colleges must start with sketch, while Pan Tianshou and others advocated the restoration of the Chinese painting department, and Chinese painting should be developed and taught independently without the influence of western painting. For the third time, since the 198s, Wu Guanzhong put forward the concept of modern painting, and wanted to completely change Chinese painting. From the creative practice, there are three paths in modern China painting, and each of them has produced a master. First, Ren Bonian, Wu Changshuo, Qi Baishi, He Xiangning, Huang Binhong and Lu Yanshao who completely inherited traditional painting and continued to explore and innovate; Second, Liu Haisu, Xie Zhiliu, Jiang Zhaohe and Zhu Xuanxian, who are based on China's traditional painting and learn from western painting skills; The third is Xu Beihong, who adopts western painting skills and integrates various schools in China and the West.
3 basic characteristics
judging from the historical evolution of literati painting, literati painting must have several characteristics.
well-educated
Literati paintings (2 pieces)
Since the feudal scholar-officials were selected through the imperial examination system, literary talent must be the basis for being an official. If you want to have a strategy, you need to build thousands of poems in your stomach. Such people draw pictures, and if they are not called "literati paintings", they will be full of literary spirit.
There is substance in words
Literati paintings in ancient times didn't sell money immediately when they were painted in a hurry, but when they came, they carried sorrow and joy and expressed true feelings. Therefore, future generations can see disdain from the eagle eyes of Badashan people.
Elegant style
Han Mo Dan Qing has been called "elegance" since ancient times, and the yardstick of "elegance" is style. This has a certain
relationship with the painter's personality, but not all, but more importantly, the education and environment the painter receives. Appreciation of style has a great relationship with the taste of the connoisseur, that is, as the saying goes, "a good painting needs to be seen by the knower."
Literati painting is a comprehensive art, which integrates literature, calligraphy, painting and seal cutting. It is a concentrated expression of the painter's various cultural qualities, especially with calligraphy. The combination of points, lines and strokes in calligraphy is not only the basic element of artistic image, but also an important object of appreciation with independent aesthetic value. The unique rhythm and rhythm formed by the severity of the brush stroke and the density of the dotted line should reflect the unique mentality, temperament and personality of the painter in the creative process, and organically combine these with the form and spirit of the things expressed, so that the heart and hand correspond, the strength is consistent, the trace is broken and even, and the pen is not thoughtful.
literati painting
literati painting
In terms of color and ink painting, literati painting pays more attention to the use of ink painting and pays attention to the five colors of ink. The most important reason why Wang Wei was highly praised by Su Shi and Dong Qichang was that he pioneered ink painting in his later creation. The reason why literati painters pay more attention to ink painting than color is directly related to the artistic concept and aesthetic concept of China's traditional painting, that is, traditional painting has never taken the real representation of things as its creative purpose, but has taken revealing the inner charm of things as its highest artistic pursuit. Based on this purpose, the unique aesthetic thought of the nation has been formed, that is, abandoning gaudiness, only taking truth and simplicity, paying attention to painting after the event, returning to simplicity and simplicity, being clumsy and so on, which have become the conscious pursuit of literati painters in art.
the formation of the characteristics and system of literati painting is related to the fact that literati regard painting as a means of spiritual adjustment.