What is the reason for the decline of landscape painting in the Qing Dynasty

I think the main reason is that the cultural temperament of the whole nation is different from that of the previous dynasty. This includes a combination of factors, from economic to cultural to military.

It should be the decline of feudal imperial power!

There were three major towns in the Qing Dynasty painting circle: around Huangshan in the early Qing Dynasty, Yangzhou in the middle of the Qing Dynasty, and Shanghai in the late Qing Dynasty. At the beginning of the Qing Dynasty, the Xin'an School of Painting headed by Yanjiang, the Xuancheng School of Painting headed by Meiqing, the Gushu School of Painting headed by Xiao Yuncong, as well as Shi Tao and Shi Xi, were known as the Huangshan School of Painting.

During the Qianjia period, Xiao County gave rise to the "Longcheng School". In addition, the pioneers and founders of the Yangzhou School of Painting were Shi Tao and Cha Shibiao; Wang Shishen, the oldest of the "Yangzhou Eight Monsters", is a native of Xiuning, and the youngest Luo Ping's ancestral home is She County, Anhui Province; Fang Shishu, the leader of the "Xiaoshi Painting School" of the famous Jingshi, is also a native of She County. Among the painters of the Shanghai School, the famous painter Xugu was a native of Xiuning, and then moved to Yangzhou and then to Shanghai.

In the Yuan Dynasty, Cheng Zheng painted with the great landscapes of Xin'an, and opened the pioneer of the Xin'an painting school. During the Jiajing period of the Ming Dynasty, Ding Zhan's paintings were based on Mi Youren and Ni Zhan, and his painting style was light and concise, which laid the foundation for the formation of the Xin'an School. Later, Cheng Jiasui and Li Yongchang also admired Ni Zan in their paintings, and the dry brushstrokes were simple and profound, and began to form the style of the Xin'an School.

At the beginning of the Qing Dynasty, the "Four Families of Haiyang" of Yanjiang, Cha Shibiao, Sun Yi and Wang Zhirui mostly painted with steep mountains and strange pines, cliffs and rocks, and sparse cold ke, which were rich in the charm of mountains and forests, and Xuan Xuan was refreshing and delicate, highlighting the special style of the Xin'an School of painting, and effectively impacting the dominance of the "Four Kings" (Wang Shimin, Wang Jian, Wang Cui, and Wang Yuanqi). They opposed the "Four Kings" of respecting the ancients, and advocated learning from nature, sending affection to brush and ink, and boldly innovating, bringing new vitality to the painting world in the late Ming and early Qing dynasties.

Between Wanli in the Ming Dynasty and Qianlong in the Qing Dynasty, there were more than 70 painters of the Xin'an School, in addition to the above-mentioned representatives, there were mainly Cheng Di, Cheng Zhenghua, Dai Benxiao, Wu Shantao, Wang Jiazhen, Zheng and so on.

After the middle of the Qing Dynasty, Wang Pu, He Wenyu, Cheng Ming, Huang Zhen, Jiang Rong, Wu Zhi, Xuezhuang, Lianxi, Xugu, etc., all had varying degrees of innovation on the basis of inheriting the traditional skills of the Xin'an School. Gushu School, also known as "Wuhu School". At the end of the Ming Dynasty and the beginning of the Qing Dynasty, Xiao Yuncong, a painter from Wuhu, inherited and carried forward the style of Huang, Wang, Ni and Wu in the Yuan Dynasty, emphasizing the expressive role of ink in painting, and gathering the strengths of all artists in terms of brushwork, ink use, and coloring.

He is good at landscape painting, and also works figure painting, and the figure painting "Lisao Tu" developed Li Gonglin's white drawing technique. Xiao Yun had a great influence from painting, and there were many scholars, forming the "Gushu School of Painting" in the Wuhu area. In the Gushu School, Xiao Yiyun "participated in the Tang and Shen techniques, and used the brush to be clear", and he was a painter who could bring forth the new and have his own appearance.

In addition, Chen Yan, Han Zhu, Sun Jude, Fang Zhaozeng, Shi Haitao, Pan Shiqiu, and Wang Lurui were quite influential at that time. Later, there were many Qing Dynasty painters who learned from Xiao Yun. Among them, when Tu Ren Huang Yue's green landscape and ink landscape have their own characteristics, both good at flowers, especially long painting plums, is worthy of a book in the "Gushu School".

In addition, Shi Changchun and Shi Daoguang are also recorded in the history of painting, but their works are rarely circulated.

Wang Shimin (1592-1680) was a painter in the late Ming and early Qing dynasties. The word is inferior, the number of smokers, the old man of Xilu, etc. A native of Taicang, Jiangsu. Wang Xijue's grandson.

Born in the family of the Ming Dynasty eunuch, Chongzhen served as the secretary of Taichang Temple in the early years, so he was also called "Wang Fengchang". Sending love poems, calligraphy and paintings, the family collection of famous paintings of the past dynasties is very much, repeatedly observed, and has been guided by Dong Qichang and others. He is good at landscapes, expert Huang Gongwang, the brush and ink are subtle, smooth and pine, thick and elegant, but the composition is less varied.

His paintings had a great influence in the Qing Dynasty, and Wang Hui, Wu Li and his grandson Wang Yuanqi were all taught by him. Together with Wang Jian, Wang Hui, and Wang Yuanqi, they are called the "Four Kings", plus Yun Shouping and Wu Li are collectively known as the "Six Qing Families". He created the "Loudong School" of landscape painting, and was the first of the "Four Kings" painters in the early Qing Dynasty.

His masterpieces include "Yayi Mountain Zhai Tu", "Xia Mountain Tu", "Xishan Lou View Map" and so on. He is the author of "Xitian Collection" and "Xilu Painting".

Four kings: Wang Shimin, Wang Jian, Wang Hui, Wang Yuanqi.

Four monks: Yanjiang, Remnant, Bada, Shi Tao.

In addition, Zheng Banqiao was also a famous landscape painter in the Qing Dynasty.

Shi Tao's opposition was attacked, and he advocated original landscape painting.

Landscape painting is a major item of Chinese painting, the Wei and Jin dynasties of literati and doctors advocated pure talk, yearning for the life of seclusion in the mountains and forests, which made many painters willing to paint the content of the Gaoshi and landscape paintings that they yearn for, expressing their affection for the landscape. Therefore, Chinese landscape painting was formed in the Wei and Jin dynasties.

By the Song and Yuan dynasties, the development of landscape painting reached its peak, such as the famous green landscape and Jinbi landscape. At this time, there are many representative figures, such as Fan Kuan, Ma Yuan, and Li Cheng. Everyone in the Yuan Dynasty has Huang Gongwang, Wang Meng, Ni Zhan, Wu Zhen, these four are all masters of landscape painting, known as the four Yuan families in history.

Personally, I think that the Song and Yuan Dynasty landscapes are unsurpassable peaks, and you can learn the Song and Yuan Dynasties by studying the Fa.

During the Ming and Qing dynasties, there were four families in the Ming Dynasty, namely Shen Zhou, Wen Zhengming, Tang Yin, and Qiu Ying. There are four famous kings in the Qing Dynasty, namely Wang Shimin, Wang Jian, Wang Yuanqi, and Wang Hui. It was innovated in the inheritance of the Song and Yuan dynasties.

If you need anything to add, you can ask me again.

Why is it said that the strong period is the Han and Tang dynasties, not others, that is, other dynasties are disappointing, and they all have a hermit mentality of affection for the landscape. And from the Wei and Jin dynasties to the Ming and Qing dynasties, it has been a cycle of less than 300 years of dynasty succession, the Sima family is not right, it did not continue the national military service of the Han Dynasty, there is no reserve, the people have no basic military cultivation, and the ** forbidden army is a kind of goods, the later dynasties have nothing to get the country, and there is no compulsory military service, and they can't do the nomads, the strength of the Tang Dynasty is based on the blood and tears of the Wei, Jin, Southern and Northern Dynasties, which is a special case. And the Tang Dynasty did something wrong, that is, the separation of Confucianism and Taoism, and the separation of Confucianism and Taoism naturally became the pathology of Song Confucianism and Ming Confucianism, and the evil result of literature and martial arts.

Because Confucianism and Taoism are indistinguishable since ancient times, entering the dynasty is Confucianism, retreating is Taoism, and the genes of hermits are still there.