Main Features of Song Dynasty Landscape Painting What are the main characteristics of Song Dynasty l

The main characteristics of landscape painting in the Song Dynasty are: emphasizing the law, emphasizing realism, emphasizing quality and interest, and emphasizing the humanistic spirit.

The landscape paintings of the Song Dynasty emphasized the natural method of learning, and most of them were realistic styles. The painters went into nature, browsed the famous mountains and rivers, and repeatedly observed and experienced the artistic conception in the scenery.

In the landscape paintings of the Song Dynasty, the themes of their expressions were mainly to visit friends and discuss the Tao, seek seclusion and amusement, and the painters conveyed their own emotions in the landscape, or expressed their life ideals and life tastes.

In the middle and late Northern Song Dynasty, under the influence of Li Cheng's painting style, there was a poetic landscape represented by Zhao Lingsui, Mi Fu father and son created the rice point landscape, Wang Ximeng, Zhao Boju and other green landscapes.

The painters of the Northern Song Dynasty created the "Strict Law", among which the "Three Landscapes" in the Northern Song Dynasty landscape painting circle achieved the greatest achievement.

The "Three Landscapes" are represented by Li Cheng, Fan Kuan, and Dong Yuan, and Li Cheng's landscape paintings at that time were "the first in the dynasty". Li Cheng founded "Cirrus Cloud" according to the characteristics of the mountains in the Qilu region; Fan Kuan used a straight pen to depict the style of the high mountains and boulders of Guanshan and founded the "Raindrop"; Dong Yuan founded the "Phi Ma Xuan", which is more suitable for expressing the quality of the mountains in the south of the Yangtze River.

The style of ink landscape painting in the Northern Song Dynasty is gorgeous and colorful, and the Northern Song Dynasty is an important era in Chinese history that inherits the past and the future, and is the peak period of traditional landscape painting in China.

Famous landscape paintings of the Song Dynasty: Thousands of miles of rivers and mountains, Xishan Travel Map, Stone Pingyuan Map, Maolin Yuanxiu Map, Qingluan Xiao Temple, Snow Scene Cold Forest Map, Snow Mountain Xiao Temple Map, Jiangshan Tower View, Xishan Tower View, Early Spring, Hidden Valley, Guanshan Spring Snow Map, Mountain Village Map, etc.

During the Northern Song Dynasty, landscape painting flourished. Among them, Li Cheng and Fan Kuan are the representatives of landscape painters in the early Northern Song Dynasty, who inherited Jing Hao's tradition of ink painting and expressed the majestic natural landscapes of the north.

His successors include Wang Shiyuan, Wang Duan, Yan Wengui, Xu Daoning, Gao Keming, Guo Xi, Li Zongcheng, Qiu Na, Wang Xu, etc. In addition to the landscape painting of the northern landscape system, there are also Guo Zhongshu who is good at boundary painting, Hui Chong, Zhao Lingsui who is good at expressing small scenes of lakes and mountains, Wang Ximeng, who inherited the green landscape painting method since the Tang Dynasty, Ju Ran, the representative of the southern school of landscape painting, and Mi Fu, who created the "Mi Yun Mountain", etc., all have their own unique contributions in the development of Chinese landscape painting.

The landscape paintings of the Northern Song Dynasty leaned towards the noisy nature, focusing on "truth" and "reality", and advocating the realistic style of landscape painting. The use of silk is not only meticulous and rigorous, but also uses ink to render the picture layer by layer, showing a dignified and tranquil beauty. It shows an unprecedented delicate, rich, and realistic painting style.

The first period of Chinese art was in the Song Dynasty, and the landscape paintings of the Song Dynasty were the most brilliant pearls on the art pagoda of the entire Song Dynasty. When combing through the landscape paintings of the Song Dynasty, we will find that the style of Song Dynasty landscape painting is diverse, and the rules are special: every once in a while, a new style of painting appears, and the new style of painting is very different from the previous traditional style.

The masters of landscape painting in the Song Dynasty seem to have given up the opportunity to learn from the masters closest to them, and instead tried to follow the style of earlier masters. They all saw new possibilities in the works of the painters they were pursuing, and when their painting style matured, they found that it was thousands of miles away from the painting style of the master in their hearts.

Fan Kuan bypassed Li Cheng to pursue Jing Hao's aesthetic thoughts, Guo Xi bypassed Fan Kuan to find Li Cheng as his spiritual mentor, and Li Tang crossed Guo Xi to follow Fan Kuan's footsteps. This kind of "intergenerational inheritance" seems to have been realized in the theory of landscape painting at that time.

Since the Tang Dynasty, the theory of landscape space has only begun to bear fruit in the early years of the Northern Song Dynasty, when the literati Su Shi put forward the painting ideal of "painting in poetry, and poetry in painting", and the painters of the Southern Song Dynasty Painting Academy finally pushed the poetic landscape works of solitude and beauty to the peak.

The seemingly overnight transformation can only be achieved through how much mental tempering and struggle the painter has, and the hardships in the middle are only known to the painter Tuxiao himself. The active ideas in the field of landscape painting in the Song Dynasty brought great prosperity to the landscape art of the Song Dynasty, and also brought great trouble to today's scholars to clarify the development of landscape painting in the Song Dynasty.

1. Secularization and commonerization permeated all aspects of Song Dynasty society.

The first is the secularization of the participants in the painting of flowers and birds. Due to the development of social production branches. People are no longer satisfied with the heavy work of agriculture, people are widely involved in the increasingly prosperous cultural market, and people from all walks of life are interested in painting and participating in market transactions because of personal interest or other reasons.

The second is the secularization of the painting object. Due to the different ideas and experiences of the painters. There are different aesthetic tastes and stylistic preferences for painting.

Flower and bird paintings mainly express flowers, birds, fish, insects, etc. in nature, which is reflected in the fresh and elegant style. The objects of painting have been transformed from rare birds and beasts such as golden pheasants, starlings, white eagles, and cranes that were loved by the royal families in the court into the living images of what they saw and heard in the production and life of the peasants in the market. The flower and bird paintings have the characteristics of civilianization and secularization.

Such as Chen Juzhong's "Four Sheep Picture". This is a vivid and very lively animal painting. In a very small format, the painter chooses a small scene from daily life.

On the hillside on the outskirts of the village there are five sheep: one in the front is licking food, and two small white goats are playing. One of the lambs slammed into the other with his head down.

Another old sheep with heavier coat at the bottom of the slope saw this situation and was about to come and stop them.

There was also a goat standing on the hillside, silently watching what happened to the four sheep below. Artistically, the painter uses extremely ordinary and ordinary goats to organize the picture. The combination of four sheep is like a family.

The mother was watching over the children at the bottom of the slope, while the father maintained the majesty of the head of the family on the high slope. Pure ode in form and intent. The painter took the natural things from the society, went deep into the life of the peasants, and used the association of ancient characters:

"Sheep" is the same as "auspicious" and "yang", and "auspicious" is written as "auspicious sheep" in ancient charactersto express the auspiciousness of peasant life.