What kind of influence did Zen Buddhism have on the rise of literati painting in the Northern Song D

First of all, there is a famous saying that the economic base determines the superstructure. The healthy development of "literati painting" (art) and "Zen Buddhism" (religious activities) was due to the favorable economic situation of the Northern Song Dynasty.

The people of the Northern Song Dynasty lived a prosperous life, far exceeding that of the Tang Dynasty. The tea tax alone (the reason why the tax other than "firewood, rice, oil, and salt" is taken here shows that the surplus purchasing power above the basic subsistence consumption can be seen) is 25 times that of the Tang Dynasty.

On top of this situation, the literati of the Northern Song Dynasty (scholar class) created a kind of leisure culture psychology that combined "life, art, and Zen Buddhism". Most of the scholars incorporated their lives into the comprehension characteristics of Zen's "mind is Buddha", and at that time the interaction between scholars and Zen Buddhism was inseparable, and the more famous stories are Su Dongpo and Buddha Yin. At that time, the literati took the name of "layman", and you can see the wind of entering Zen: "Liuyi layman", "Dongpo layman", "Halal layman", "Huaihai layman", "Houshan layman", "Fuxiu layman", "Yi'an layman" and so on.

The decline of Confucianism also led to the prosperity of Zen Buddhism, and the people of the Northern Song Dynasty (scholar class) became more and more idle and free, not sticking to the "etiquette" of Confucianism, and there were "drunkards" and other playful and angry flaunts.

This situation has been introduced into the field of calligraphy and painting, not sticking to the "Shangfa" style of the Han and Tang dynasties, and the so-called painting can be painted as much as you want, and it is reasonable to paint how you want. There are "Shangyi" styles such as "can't" and "handy", and they don't talk about rules and regulations, but only seek to look like a god and not to look like a form. Zen Buddhism later brought the idea of "enlightenment" into calligraphy and painting, after the "enlightenment" is free, all the constraints on authority can be broken, and it is not uncommon for "Buddha to scold the Lord".

A state of absolute freedom.

When contemplating the bodhisattva of self-reliance, when he walks deep in Prajnaparamita, he sees that the five aggregates are empty, and he overcomes all suffering, relics. It is the emptiness of all laws, neither born nor destroyed, neither dirty nor pure, neither increased nor decreased...

1. Literati painting is a painting with literati taste in the painting and revealing literati thoughts outside the painting.

2. When Chinese painting developed to the Song and Yuan dynasties, there was an obvious change, that is, a new style of painting appeared that was sloppy and did not seek to resemble the form compared with the refined style of painting that had been popular since the Tang Dynasty, and it soon became popular among scholars and literati. After the emergence of this new style of painting, most of the people who initially mastered this new style of painting were some famous scribes, and later literati also competed to imitate it, but all of them regarded painting as the elegance of literati. Therefore, later generations called this style of painting, which was advocated, advocated and practiced by literati, as literati painting.

3. The authors of literati paintings hope to express their inner feelings through painting, and their purpose is not limited to the painting itself but beyond it, so they use these artistic means that are less binding on creation than those of ants and manuscripts, and the content of paintings that are less binding on thought. The theory and practice of literati painting, which advocated "not seeking resemblance of form" and introducing calligraphy into painting, had a profound impact on the development of literati painting in the future, so much so that it became the basic principle of literati painting.

1. Court painting, the Northern Song Dynasty's Hanlin Painting Academy has reached an unprecedented stage, and the representative figures and works are: such as Guo Xi's "Early Spring", "Guanshan Spring and Snow Map", Zhang Zeduan's "Qingming Riverside Map", "West Lake Bidding Map", Wang Ximeng's "Thousands of Miles of Rivers and Mountains Empty Boy Picture", Li Tang's "Picking Flowers", "Ten Thousand Pine Winds", Ma Yuan's "Walking Song", "Water Map" and a large number of successful works.

2. Courtyard painting, referred to as "courtyard style" and "courtyard painting", is a kind of Chinese painting.

It generally refers to the paintings of the Hanlin Painting Academy in the Song Dynasty and its later court painters.

Represented by Xu Xi and Huang Zhen.

3. The Huang School, also known as the "Huang Qian School".

It occupies an important position in the history of Chinese flower and bird painting.

It is one of the two major schools of flower and bird painting in the Five Dynasties, which matured in the Huang Zhen of the Western Shu of the Five Dynasties, and the light is greater than that of the Huang Juhuan in the early Song Dynasty.

Fourth, the Southern Landscape Painting School, the representative figures are: Dong Yuan and Ju Ran.

5. Huzhou Bamboo School, one of the Chinese Doujing Wang painting schools.

This school takes bamboo as the object of expression, represented by Song Wentong and Su Xian, and the manuscript is especially famous for Wentong's painting of bamboo.

6. Changzhou School, also known as "Piling School" and "Wujin School".

One of the genres of Chinese painting.

Represented by Xu Chongsi and Zhao Chang.

7. Mi School, one of the schools of Chinese painting.

Refers to the Song Dynasty Mi Fu, Mi Youren father and son painted paintings.

The theory of the north-south sect was put forward by Dong Qichang.

The Doctrine of the North and the South In the history of Chinese painting, there are two different styles of literati painters and professional painters. It was proposed by Dong Qichang in the Ming Dynasty in the book "Essays on Painting Zen Room". He thinks that Beizong is Li Sixun's father and serves the hungry son to color the landscape, and it is spread as Song Zhizhao?

Native round bath round x to Ma (far) Xia (Gui) generation. Nanzong Wang Maha (Wang Wei) began to use shade, a change of the method of collusion, which is passed down to Zhang Qi, Jing (Hao), Guan (Tong), Dong (Yuan), Ju (Ran), Guo Zhongshu, Mi family father and son, and even the four families of the Yuan.

He divided the development of painting from the Tang Dynasty to the Yuan Dynasty into two major schools according to the identity of the painters, painting methods, and styles, believing that the Southern Sect was the painting of the literati, while the Northern Sect was the connoisseur painting, and the Southern Sect advocated literati painting, and derogatory Northern Sect of connoisseur painting. Dong Qichang also has contradictions in the theory of the Northern and Southern Sects, with different standards, and his evaluation of literati painters who also belong to the Southern Sect is also positive and negative, reflecting the confusion of theory.

At the same time as Dong Qichang, Chen Jiru, Mo Shilong, Shen Hao and others also advocated or endorsed the theory of the North-South sect, which echoed each other and had an impact on the development of painting in the late Ming and Qing dynasties. Source of the original text of the Northern and Southern Sects: "Essays on Painting the Zen Room" Volume 2:

The Zen family has two sects in the north and south, and the Tang Dynasty began to divide. The painting of the north and south of the two sects, also in the Tang Dynasty.

But the people are not north and south. Beizong Li Sixun father and son colored the landscape, and it was spread to Zhao Gan, Zhao Boju, and Bo of the Song Dynasty. , as well as horses and summer generations.

Nanzong Wang Maha began to use the shade, a change of hook (a study, is a mistake) of the method, which is passed on as Zhang Yan, Jing, Guan, Dong, Ju, Guo Zhongshu, Mi family father and son, and even the four major Sakura of the Yuan Dynasty, just like the six ancestors after the foal (Matsu Daoyi), Yunmen, Linji, the prosperity of children and grandchildren, and the Northern Sect is slight.

To be, the so-called Yunfeng stone traces of Maha, out of the sky, the penmanship is vertical and horizontal, and it is involved in the creator, Dongpo praises Wu Daozi, Wang Wei paints the wall, and Yiyun: I am also inseparable from (Wang) Wei. I know what to say. ”。

It was proposed by Dong Qizhi of the Ming Dynasty.

Dong Qichang put forward the "Theory of the Northern and Southern Sects" in the book "The Purpose of Painting", he divided the development of painting from the Tang Dynasty to the Yuan Dynasty into two major factions according to the identity of the painters, painting methods and styles, and believed that the Southern Sect was the painting of the literati, while the Northern Sect was an expert painting.

AI intelligent Q&A.

The title is called: the chainbird.

The influential "North-South Sectarian Theory" in the history of Chinese painting was put forward by the Ming Dynasty ().

a.Wu Wei. b.Zeng Whale.

c.Chen Chun. d.Dong Qichang is absolutely unsuccessful.

Answer: DDong Qichang.

Take a photo and search for questions.