In Yuan Dynasty painting, literati painting occupied the mainstream of painting. Because there was no painting academy in the Yuan Dynasty, except for a few professional painters who directly served the imperial court, most of them were literati painters in high positions and literati painters in opposition.

Their creation is relatively free, and they express their living environment, interests and ideals. Landscape, dead wood, bamboo stone, Mei Lan and other themes appear in large numbers, and the number of figure paintings that directly reflect social life decreases. The works emphasize literariness and pen and ink charm, attach importance to painting with books, and attach importance to the combination of poetry and calligraphy.

Landscape painting is the most popular kind of painting in Yuan Dynasty. Its creative thinking, artistic pursuit and style all reflect the mainstream tendency of painting circles and have the most far-reaching influence on later generations. At the beginning of Yuan Dynasty, landscape painters were represented by Qian Xuan, Zhao Mengfu and Gao. They all made a serious exploration of traditional landscape painting and sought a new way through retro.

Qian Xuanshan painted green landscapes, learned from Li Sixun, Li Zhaodao and Zhao Boju in the Tang Dynasty and the Southern Song Dynasty, and blended in the brushwork and charm of literati painting, which made him feel clumsy. Zhao Mengfu's landscape paintings widely absorbed the strengths of famous artists, emphasized the homology of painting and calligraphy, and introduced calligraphy into painting creation, forming a variety of faces.

In the early years, I studied the Jin and Tang Dynasties, and there were many green colors, such as the "Young Gull Map", which was empty and filled with colors, without adding points, and the style was Gu Zhuo; After the age of 46, Dong Yuan, Li Cheng and Guo of the Northern Song Dynasty followed suit. They give priority to ink painting, sometimes combining ink painting with turquoise painting, sweeping away the habits accumulated in the Southern Song Dynasty, developing the expression techniques of landscape painting and making outstanding achievements.

Gao Gong Ke changed among Mi Fei, Dong Yuan and Li Cheng, and formed a unique style of muddy wood. At the beginning of the Yuan Dynasty, under the impetus of Zhao Mengfu and Qian Xuan, Huang, Wang Meng, Zhenwu and Ni Zan rose in the middle and late Yuan Dynasty.

There were also a group of landscape painters in the Yuan Dynasty, each with its own characteristics, enjoying a high reputation in the history of painting. Among them, influenced by Zhao Mengfu, painters who used Li Cheng's and Guo's painting methods flexibly are, Cao, Zhu Derun and Tang Di. Influenced by Huang and Wang Meng, Dong Yuan, Lu Guang, Ma Wan, Chen, Fang and others.

Sun Junze, Ding, et al. He studied landscape painting in the Southern Song Dynasty and preserved the legacy of Ma Yuan and Xia Gui. In addition, the landscape pavilions of Wang Zhenpeng, Li Rongjin and Zhu Yu are famous for their neat brushwork and accurate conversion.

Extended data:

There were four famous landscape painters in Yuan Dynasty, who founded various schools, which had great influence on later generations.

Yuan Sijia is the representative of landscape painting style in Yuan Dynasty, so what made them become the representative of landscape painting style in Yuan Dynasty?

The "emphasis on reason", "emphasis on law" and "seeking truth" in Song paintings are almost the ideals of all painters in the Five Dynasties and the early Northern Song Dynasty, which have always influenced the Southern Song Dynasty. Only in the Yuan Dynasty did it turn into inner care and expression, from the spiritual concept of depicting a grand world outlook to the self-pursuit of seeking inner liberation and escaping from brushwork.

This is the different ideal of different landscape painters in Song and Yuan Dynasties, and it is also an internal opportunity for the transformation of landscape painting style in Yuan Dynasty. This concept of painting was guided by scholars such as Qian Xuan and Zhao Mengshun in practice and theory at the beginning of the Yuan Dynasty, and matured in the Yuan Dynasty.

Their achievements represent the peak of landscape painting art in the Yuan Dynasty, which is the key to their influence and change of landscape painting style in the Yuan Dynasty. Seeing their works, this performance is even clearer.

In China, Huang's painting style was the earliest mature, which indirectly influenced the creation of Ni Zan, Zhenwu and Wang Meng, and was the key factor for the change of painting style in Yuan Dynasty. In the Ming Dynasty, Zhang Chou recorded in "Qing He Shu Hua Fang" that he "has two styles of painting: one is a pale crimson painter with rugged rocks and magnificent brushwork; The other is an ink painter, with very few lines and a particularly simple and profound brushwork. " This comment is generally correct.

Painters always think that Yuan painting is simple, and its simplicity has changed the complexity of Song people's "painting theory". Writing for pens is its simplicity. And predicates. Although Song people are very complicated, Yuan people are very simple, and this "complexity" is the complexity of Yuan people's brushwork.

Yuan people's paintings are tireless, which is the most obvious among Huang's paintings. The most representative ones are Fuchun, Jiu Feng Snow and Fog Map, Ya Dan Yushu Map, Tianchi Stone Map and so on. Whether it is simple or complex, dense or sparse, it can achieve rigorous composition and loose brushwork, giving people a clean and harmonious inner experience and feeling.

Among these works, Fuchun Shan Jutu is the most representative of his achievements and the most influential one, and it is a long scroll created in his later years. The picture scroll adopts the form of opening and closing, and the viewpoint moves slowly with the ups and downs of the mountain, which is enough to make people feel relaxed and happy. If we only look at a part of the picture, the changes of dryness and wetness are rich, which all reflect rich cultural connotations.

On the other hand, it broke through Dong Ju's barrier in technique, although it followed the methods used in Zhao Meng's "Water Town Map" and other works, and became a brand-new artistic expression, completing the transformation of landscape painting in Yuan Dynasty. Some people compare Fuchun Shan Jutu to the Lanting of the right army, which shows its high achievement.

Zhen Wu Huang Xiao Wang Gong is a teenager, and he is finally the same year. Four schools in the Yuan Dynasty, the other three all wrote with dry pen, while Zhen Wu liked to paint with wet ink and complex pen, which was the difference between Zhen Wu and others. For example, when he was fifty-seven, he painted The Fisherman's Map, in which there were shoals, reefs and aquatic plants at first, and then fishermen were fishing on the boat. Among them, there are two trees on a continent and a mountain stream on the other side, vaguely.

In the painting, the outline of the rock is outlined with wet ink, slightly rubbed, rendered with wet ink, and then painted with thick ink, so that the whole picture has a sense of oppression.

In fact, Zhenwu learned from Dong Ju, especially in Ju Ran. He can turn Ju Ran's "light ink and light haze" into "gloomy and abundant", giving people the feeling of abundant internal force without showing any trace. This is a realm from aesthetic level to human nature and even philosophy level, and it is also the most fundamental thing reflected by the transformation of Yuan painting style from the internal level.

In the painting schema, Zhenwu's composition has also taken many strange trends. For example, in his painting "A Picture of a Twin Pine and a Broad Horizon", two vigorous pine trees stand tall, occupying almost the whole picture, and the hillside in the middle of the picture disappears from near to far. Such a schema is rare in the history of painting.

Another example is his "Zhongshan Map", where several mountains embrace each other. At first glance, it looks bland, but in fact it is very dangerous. If this schema is not handled well, it will be boring, and it is amazing that Zhen is handled so easily and casually.

Wang Meng is one of the four schools in Yuan Dynasty, with dense pictures. His landscape paintings are good at description, and his pen and ink skills are profound. Ni Zan praised him for "your ability to write a tripod, and there has been no such monarch for 500 years". In addition, he is also good at bold use of color, which is rare in the creation of other literati painters.

In fact, the breath, style and artistic interest of Wang Meng's landscape paintings are different from their predecessors and unique. For example, in his "The Seclusion Map of the Clear Border", the mountains and rivers in the painting are layered, the calligraphy is dry and wet, and the expression techniques are extremely rich. The artistic conception and mental state of the whole picture were unprecedented in the Yuan Dynasty.

Another example is the Migration Map of Gezhichuan, which is also a panoramic composition. The tree in the picture is double-hooked, and the color is very dark. The rocks are mainly inky with a slight light color. The whole work is written in dry ink, but the handwriting is not clear. The ink is light and loose, with rich layers. The realm shown in the painting is also different from ordinary people.

His other masterpieces include Taibai Mountain Map, Summer Shan Jutu, Forest House Map with Zone, Peach Blossom Fishing Boat Map, etc., all of which represent his artistic achievements. In a word, his colorful landscapes are not like Dong Yuan and Ju Ran.

Although it is also based on realism, it has become exquisite and heavy, with both form and spirit. In particular, his painting methods of using pen and wiping dots also have practical significance, which greatly enriched and developed the pen and ink expression of landscape painting in Yuan Dynasty, and thus established Wang Meng's position in painting in Yuan Dynasty.

References:

Baidu Encyclopedia-Yuan Dynasty Painting