The historical significance of Dong Qichang s theory of the north and south, and how to evaluate and

Artistic achievements: Dong Qichang.

At that time, the calligraphy was known as "Xing Zhang Mi Dong", that is, he and Linyi.

Xing Dong, Jinjiang Zhang Ruitu, and Xu Tian Mi Zhong are juxtaposed; There is a saying in the painting that the south is east and the north is the rice. Mo Shilong and Chen Jiru advocated the theory of "Northern and Southern Sects", that is, the "courtyard" landscape painting and the "literati painting" were divided into two schools: the north and the south. Dong Qichang created countless calligraphy and painting works in his lifetime, and the paintings and poems of the ancients are an important part of them.

He wrote "Essays on Painting the Zen Room".

The phrase "reading 10,000 books" refers to the fact that if a person wants to become an artist, he must learn from the traditions and the ancients. He began to learn calligraphy at the age of 17 when he wrote Yan Zhenqing's "Duobao Pagoda".

At the age of 22, when he learned painting, he studied under Huang Gongwang.

Later, he studied all over the world, and this practice of taking the ancients as his teacher for eighty years and accompanied him for life. He extensively absorbed the advantages of the Tang, Song and Yuan dynasties, and explored the subtleties, so that his calligraphy and painting achieved artistic achievements that surpassed those of the ancients.

Historical significance: Dong Qichang's subjective construction of a landscape painter inheritance system is based on the feeling of the situation of the painting world at that time, not a simple theoretical construction. From the perspective of practical effect, although the theory of the north and south sects is not rigorous, it has clarified the thinking of many people who are at a loss, and has well inspired the development of landscape painting since then, realized the transcendence of the real predicament, and created a stable situation for hundreds of years.

However, it is really a misunderstanding to regard the North-South sectarianism as a historical theory, and it is only a theory put forward by Dong Qichang to answer the multifaceted problems existing in the creation and criticism of the painting world at that time, which has critical and distinctive characteristics of the times. From this point of view, it may help us to better grasp the late Ming Dynasty.

Let's maintain an attitude of historicism of "sympathy of understanding" toward the history of painting.

The evaluation is as follows: In the theory of the north and the south, Dong Qichang's flaunted light artistic ideas had a warning effect on landscape painters at that time and even in later generations. The theory of praising the south and depreciating the north in the north and south really rebukes the painters and reminds them of the efficacy of literati painting, which not only opens the way for literati painting to become the authentic Chinese landscape painting, but also points out the plain and naïve aesthetic temperament of landscape painting for the Ming people.

He started from the south and north of Zen Buddhism, which influenced the understanding of landscape painting in later generations. The theory of the North-South Sect is self-justifying with the metaphor of Zen Buddhism, but the mantle of Zen Buddhism is not suitable for the inheritance of landscape painting. Sun Fan.

His theory of the North and South Sect of Hail starts from the light artistic idea to organize the painting system, but it cannot be dealt with objectively and fairly, just to flaunt the plain and naïve.

North-South Sectarianism. Introduction: In the history of Chinese painting, literati painters and professional painters have two different style systems.

It was proposed by Dong Qichang in the book "Painting Purpose" in the Ming Dynasty. He believes that the Northern Sect is Li Sixun's father and son coloring landscapes, and it is passed down to Zhao Jie, Zhao Boju, Zhao Boqi and Ma (Yuan) Xia (Gui) generations of the Song Dynasty. 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.

Original source: "Essays on Painting Zen Rooms" Volume 2: "The Zen family has two sects in the north and south, and the beginning of the Tang Dynasty.

The painting of the north and south of the two sects, also in the Tang Dynasty. The first hall type, but its people are not north and south ears. Beizong Li Sixun father and son coloring landscapes, and it was spread to Zhao Gan, Zhao Boju, Bo Qi of the Song Dynasty, as well as horses and Xia generations.

Nanzong Wang Maha began to use shade, a change of hook (a study, is a mistake) of the method, which is passed on to Zhang Yan, Jing, Guan, Dong, Ju, Guo Zhongshu, Mi family father and son, and even the four families of the Yuan, 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 cloud peak stone traces of the Maha are out of the sky, the brushwork is vertical and horizontal, and it is related to the creator, and the east slope praises Wu Daozi and Wang Wei to paint the wall, and Yiyun: I am also inseparable from the hail (Wang) Wei.

Those who know what to say guess. ”

See Encyclopedia.

Answer: "The Theory of North-South Sects" is a theory held by Dong Qichang on the ancient Chinese landscape painting school. Dong's theory can be summarized into the following three meanings:

First, since the Tang Dynasty, there have been two major factions in the field of painting, one is the Southern Sect faction represented by the Tang Dynasty painter Wang Wei, including Dong Yuan and Juran of the Five Dynasties, Mi Fu of the Northern Song Dynasty, Mi Youren and his son and the "Four Yuan Families" of the Yuan Dynasty Huang Gongwang, Wu Zhen, Ni Zhan, Wang Meng, etc., and the other is the Northern Sect faction represented by the Tang Dynasty painter Li Sixun, including Ma Yuan, Xia Gui, Zhao Boju, Zhao Boqi and so on in the Song Dynasty. These two schools of painting arose at the same time as the two major schools of Zen Buddhism.

Second, the Southern and Northern factions in painting are fundamentally different in terms of artistic style (e.g., "Seiko" and "Morale", "Gong" and "Ya") and artistic techniques (e.g., "rendering" and "coloring", "Method").

Third, Dong Qichang himself admired the Southern Sect of painting (i.e., the painting of the literati), believing that the painters of this faction were "all the authentic characters". The Northern Sect faction (i.e., the connoisseur painting) was denounced. This kind of admiration and denunciation is very similar to the prosperity of the southern sect and the decline of the northern sect of Zen Buddhism, so it is called the "Southern and Northern Sect".

Dong Qichang is known as a generation of grandmasters not only because his calligraphy is popular all over the world, not only because he changed the painting style of the "Wumen School" in the middle of the Ming Dynasty, but more importantly, he bypassed Zen and discussed painting with Zen, and for the first time in Chinese history, he systematically put forward the theory of the painting school in the context of the development process of painting - "North-South Sect". He divided the landscape painting into the north and south through a comprehensive comparison of the identity of the painter and the painter's brushwork, method, composition and other factors, and borrowed the Zen school to divide the landscape painting into two sects, the north and the south, and tried to comprehensively and systematically sort out a line of landscape painting teachers and schools. Although its generalization is not accurate and scientific, it has positive enlightening significance for the study of the development of Chinese landscape painting and the thinking about the aesthetic value of artistic style.

Dong Qichang discussed the "painting division of the north and the south sects" in "Rongtai Collection: Painting Purpose": "The Zen family has two sects, the north and the 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 coloring landscapes, and it was spread to Zhao Gan, Zhao Boju, Boqi and even horses and Xia generations of the Song Dynasty. Nanzong Zewang Mahajie began to use shading, and changed the method of hooking and cutting. It is passed down to Zhang Pan, Jing, Guan, Dong, Ju, Guo Zhongshu, Mi family father and son, and even the four families of the Yuan, just as the six ancestors have the prosperity of the children and grandchildren of Pony, Yunmen, and Linji, and the Northern Sect is slight.

To the so-called Yunfeng stone traces of the so-called Maha out of heaven, the penmanship is vertical and horizontal, and it is involved in the creator. Dongpo praises Wu Daoyuan and Wang Wei's painting wall Yiyun:''I am also inseparable from Weiwei.

I know what to say. This passage is also included in the "Painting Theory" entitled Mo Shilong, which was published by Dong Qichang when he was alive, so some people think that Dong Qichang's "North and South Sect Theory" is inherited from Mo Shuo. However, it is generally believed that after careful examination, the founder of the "Southern and Northern Sects" should be Dong Qichang.

Dong Qichang's "Southern and Northern Sect Theory" should also cover this commentary: "The painting of literati began with Wang Youcheng, and then Dong Yuan, Seng Juran, Li Cheng, and Fan Kuan became the sons-in-law. Li Longmian, Wang Jinqing, Minan Gong, and Hu'er all got from Dong Ju.

Until the fourth family of Yuan, Huang Zijiu, Wang Shuming, Ni Yuanzhen, and Wu Zhonggui, they are all their true stories. I am a man of Wen Shen, and he takes over the mantle from afar. Ruoma, Xia, Li Tang, and Liu Songnian are also the faction of General Li, and they are not my Cao Dangxue.

Nanbeizong said, "As soon as it came out, with the help of Dong Qichang's huge social influence, coupled with the contemporaries Chen Jiru, Zhan Jingfeng, Zhang Chou, Tang Zhiqi, Shen Hao, etc., all competed to echo each other, it spread rapidly, and gradually became a theoretical criterion for appreciating painters. After the "doctrine of the Northern and Southern Sects" became a systematic doctrine, it was sharply criticized. In fact, all kinds of criticism have been going on for a long time.

Mr. Xie Zhiliu believes that Dong Qichang's "Doctrine of the Northern and Southern Sects" is "unusual" and "self-contradictory": "Because of his extensive knowledge and unconventional knowledge of ancient paintings, he created a series of peculiar discussions, and he transferred the sectarian teachings of the Zen family to painting, dividing ancient painting into two major systems''Nam Zong''、''Beizong''。