Cheng Jie/Wen
[Abstract] "Calligraphy and Painting Homogeneity" was first proposed by the Tang Dynasty painter Zhang Yanyuan, and the essence of Zhang's "calligraphy and painting homogeneity" theory encompasses two levels, namely, the "same origin of calligraphy and painting" at the macro level and the "same method of calligraphy and painting" at the micro level. Zhang Yanyuan's motivation for proposing this theory was to equate painting with calligraphy as elegant, to get rid of the status of the painters in the society at that time, and to clear the theoretical obstacles for the rise and development of literati painting in later generations. [Keywords] Zhang Yanyuan; Records of Famous Paintings of Past Dynasties; Calligraphy and painting are of the same origin
Zhang Yanyuan, a historian of painting in the Tang Dynasty, wrote "Records of Famous Paintings of Past Dynasties" as the first general history of painting in China, and the "Origin of Narrative Painting" section of the book proposed "calligraphy and painting as one", which is the first time in the history of Chinese art to discuss the internal consistency of painting and calligraphy, two important ancient art forms. It is said: "It is also the time, the calligraphy and painting are the same body and not divided, and the image is created and the jubilant, and there is no way to convey its meaning, so there is a book; There is no way to see its shape, so there are paintings. The meaning of the saints of heaven and earth also. In ancient China, there is a so-called "Book of River Tuluo", that is, in the ancient Fuxi clan, a dragon horse floated out of the Yellow River, carrying a "river map", dedicated to Fuxi, and Fuxi evolved into gossip according to this; During the time of Dayu, a divine turtle appeared in the Luo water, carried the "Book of Luo" on his back, and presented it to Dayu, who successfully managed the flood accordingly. Although this is a legend, the early records of Chinese civilization are indeed inseparable from pictures and texts. In Zhang Yanyuan's view, this early symbol of imagery was the same body of calligraphy and painting, which was very brief when it was first created, and in order to convey its meaning connotation, it was later derived from the book style; In order to reflect its image, paintings were produced. He quoted Yan Yanzhi as saying: "There are three meanings in the picture: one is the diagram, and the gua xiang is also; The second is pictorial, and the orthography is also; Three figures, painting is also. In particular, the calligraphy mentioned in the second point is the study of pictorial knowledge, which has been discussed in the Eastern Han Dynasty Xu Shen's "Explanation of The Order of Words in The Interpretation of Texts": "The king of the ancient Bao Xi clan, Tianxia, looked up at the heavens, looked down at the law on the ground, looked at the birds and beasts and the appropriateness of the earth, and took the body closely, so he began to make the "Yi" gossip, in order to look at the image. and the Shennong clan knotted rope for the sake of governance, and the industry was complicated, and the ornament was born. The Yellow Emperor's Shi Cangjie, seeing the traces of birds and beasts' hooves, knowing that the division of reason can be different, the first book deed. ...... Cangjie's initial writing of the book, Gaiyi pictograms, so it is called a text. It is followed by the sound of sound, that is, the zigzag. The writer, the basis of the object; The word is the one who speaks and soaks more. Written in the book of bamboo, the author is also. In the life of the Five Emperors and Three Kings, it was changed to a special body. The seven sealed in Taishan have two generations, and there are tongyan. "Zhou Li": Entering primary school at the age of eight, Bao Shi taught Guozi to first write six books. A finger of things. The one who points to the matter, sees and can see, and the upper and lower are also. The second is the pictogram, the pictogram, painted as its object, with the body of the cross-examination, the sun and the moon are also. Three-day sound. The shape of the voice, in the name of things, take the example of each other, the rivers are also. Four days to meet. The will, the analogy of friendship, to see the finger, the martial arts is also, the five days to transfer the note. The transferist, building a class of one, agrees to accept, and the examination is always also. Six-day holiday. The pretend borrower, who has no words, is entrusted with the matter according to the voice, and the commander is also. "From Fuxi looking up and looking down at the bagua to Cangjie's pictograms, its creation is closely related to the picture, and the six books are one of the pictograms, which is inseparable from painting. Zhang Yanyuan therefore said: "It is because I know that calligraphy and painting are different and the same body." Based on the commonality of calligraphy and painting, relying on the pictogram of one of the six books, which is the point of convergence of calligraphy and painting, Zhang Yanyuan came to the conclusion that calligraphy and painting are identical, which was recognized by many theorists in later generations:
The beginning of the six books is in pictograms, and the pictogram is the power of painting things. ...... I know that books and paintings are not heterogeneous, but also their first one. (Song Lian's "Painting Origin")
The husband's calligraphy and painting books come from the same source, and the cover painting is one of the six books, and the so-called pictographer is also. (He Liangjun, "Four Friends Zai Cong Says and Paints 1")
Painter, one of the six book pictograms. (Chen Jiru's NiguLu)
The six books, headed by pictograms, are the excesses of painting. (Wang Shimin's "Wang Fengchang Calligraphy and Painting Inscription")
The above is Zhang Yanyuan's discussion of the relevance of calligraphy and painting from the macro level of the development of the source of calligraphy and painting, on the other hand, such as in "On the Microscopic and Specific Situation to Talk about the Unity of Calligraphy and Painting:
Or ask Yu Yigu, Lu, and Zhang Wu how to use the pen, right: Gu Kaizhi's traces, tight and continuous, circulation is super abrupt, easy to adjust, wind tends to be electric, the intention is to save the pen first, the painting is full of intention, so the whole spirit is also. In the past, Zhang Zhi learned the method of cursive writing by Cui Yu and Du Du, so he changed it to become the current cursive style. A stroke, the qi pulse is connected, the interlacing is continuous, only the prince respects its deep purpose, so the first word of the line often follows its forward, and the world is called a pen book. Later, Lu Tanwei also made a stroke of painting, continuously, so it is known that calligraphy and painting use the same method of brush. Lu Tan is slightly refined and profitable, the new is wonderful, the name is high in the Song Dynasty, and there is no such thing as the time. Zhang Monk's point of dragging and flicking, Mrs. Yiwei's "Pen Array", a little bit of a painting, don't be a coincidence, hook and sword SenRan, and know that calligraphy and painting are the same as the pen. Wu Daoxuan of the National Dynasty, ancient and modern, walked alone, did not see Gu and Lu before, and did not come after. The penmanship was taught to Zhang Xu, who also knew that calligraphy and painting were the same as the pen.
Zhang Yanyuan believes that calligraphy and painting use the same method with pen, and lists several examples in the history of calligraphy and painting: a book by Zhang Zhi and Wang Zijing and a stroke by Lu Tanwei; Painter Zhang Mongxuan Xuewei's "Pen Array Diagram" brushwork; The painter Wu Daozi learned brushwork from the wild grass master Zhang Xu. This proves that there is a commonality and mutual reference between the brushes used in calligraphy and painting. Regarding the relationship between "one stroke book" and "one stroke painting", Guo Ruoxuan of the Northern Song Dynasty made a statement on this, and his "Picture Seeing and Hearing Zhi on the Gains and Losses of Using The Pen" Yun: "Where painting, the rhyme of qi is based on the wandering heart, and the divine color is born from the use of the pen." It is difficult to use a pen, and it can be recognized. Therefore, Aibin said that only Wang Xianzhi could be a book, and Lu Tanwei could be a stroke. There is no suitable article, the image of a thing, and it can be done in one stroke. But from beginning to end, the pen has a direction, a continuous genus, and a continuous pulse. Therefore, the intention is to save the pen first, the pen is within the meaning, and the painting is full of intention, like ying Shenquan. Fune is self-sufficient, and then God is idle; God's idle will is inexhaustible and the pen is not sleepy. It is believed that what "one stroke book" and "one stroke painting" emphasize is not the use of specific brushwork, nor does it refer to the unity of the form of brushwork, but its core lies in the meaning of the brush, and if the creation of calligraphy and painting can save the pen first, its works are naturally continuous from beginning to end, and the pulse is continuous.
The most famous thesis is from Zhao Mengfu of the Yuan Dynasty, whose "Xiushi Shulin Tu" volume inscription poem yun: "Stone is like flying white wood, writing bamboo is also related to the eight laws, if someone can do this, only then will they know that calligraphy and painting are the same." This picture volume of Zhao Mengfu is a masterpiece that embodies the same method of calligraphy and painting from the painting method, and it is this inscription poem that is remembered by later generations of literati. Regarding "flying white", Tang Zhang Huaihuan's "Book Break" Yun: "Flying white, the later Han Zuo Zhonglang will be Cai Yong's work also." Wang Yin, Wang Yan and Yun: Flying white becomes italic system also. This is the palace inscription, the momentum is both straight, the word should be slightly dissatisfied, called FeiBai. "Tang Liqiu's "Shang Shu Gu Shi": "The Feibai Book began with Cai Yong, and when he saw the craftsman Shi Chaga at the Hongmen Gate, he created a plan." This kind of calligraphy created by Cai Yong, the strokes are white, like the dry pen written, the Han Wei Palace Que inscription, was widely used, and Zhao Mengfu used this brushwork to draw stones. Also known as the Great Seal, it is named after the book Shi Shu (史籀篇). The "Book of Han and Yiwen Zhi" says: "Fifteen articles of the Shi Li, the king of the Zhou Dynasty, Tai Shi Li, made a great seal." Its fonts overlap, and the Shigu script unearthed in the early Tang Dynasty in the tianxing sanyuan is a representative of this font, and Kang Youwei called it "such as jindian commissioned land, zhicao tuanyun, not bothering with the whole crop, and having its own strange style." "Painting branches with a large seal brush is also a creation of the Zhao family." Writing bamboo is also connected with the eight laws", which refers to the eight laws of yongzi. The Yongzi Eight Methods take the Yongzi Dot Painting Eight Strokes as an example to illustrate the method of using pens and grouping words in calligraphy. Writing bamboo is through the eight laws, and a "write" word reveals the message in it, that is, the consistency of the calligraphy and painting brushwork. In the Qing Dynasty, Jiang Ji focused on the method of painting, and glimpsed the similarities between calligraphy and painting, and his "Reading and Painting Chronicles and Laws" yun: "The ancients had different methods, such as the portals of the calligraphers. It is self-contained and can also be sought in calligraphy. For example, if you solve the rope, you have a seal meaning, the messy mess has a grass meaning, the raindrop wrinkle has a kai meaning, the folding belt can be sharp, and the axe can be used to withdraw the pen. Dong Qichang of the Ming Dynasty went a step further, and his "Painting Zen Room Essay And Painting Tips" Yun: "When a scholar paints, he should do it with the method of grass liqi characters." Trees are like iron, mountains are like painted sand, and there is no sweet path, but for morale. No, even if it passes, it has fallen into the painter's demon world, and it can no longer be saved. If you can free the rope, it is through the net scales. "The brushwork in painting has been upgraded to the level of "scholar painting", which has become the dividing line with the painting of lay craftsmen.
It was Shi Tao in the early Qing Dynasty who raised Zhang Yanyuan's theory of the integration of calligraphy and painting to a philosophical level. Shi Tao's "Painting Quotations and Character Chapter 17" focuses on the origin of calligraphy and painting and its relationship with each other: "The world does not enforce the law, and the heavens do not cling to it, not only in painting but also in words. The word and the painter have two ends, and their work is one. A painter's calligraphy and painting have the root of the first, and the calligrapher's painting of the day after tomorrow's economic rights are also. Those who can know the right to read and forget the origin of a painting are those who have lost their ancestral branches by their descendants, those who can know the ancient and modern and forget their merits are not in the people, and those who have lost their heavenly gifts from a hundred things. Heaven can teach people the Law, but cannot teach people merit; Heaven can teach people to paint, but it cannot teach people to change. People either abandon the law to cut merit, and people or leave the painting to change. The heavens do not belong to man, and even if there are calligraphy and paintings, they do not pass on. Heaven has given man, because he can give it, and there is also great knowledge and great grant, and small knowledge and small grant. Therefore, ancient and modern calligraphy and painting, the heavens and the whole person are also. Those who have been taught by heaven and who know little and know little from the heavens have no way but to have the law of calligraphy and painting, and those who have been broader are also. Therefore, I have the theory of concurrent words also. In Shi Tao's view, "the foundation of a painter's calligraphy and painting", that is, "one painting" is the common foundation of calligraphy and painting. There is still no conclusive conclusion as to what the connotation of Shi Taozhi's "one painting" is, but from the discussion of his "Painting Quotations : One Painting Chapter I", we can still look at it: "Too ancient can not be, too simple to scatter." Too simple and scattered and legal. Where does the law stand? Stand in one painting. A painter, the foundation of all things, the root of all things. From a philosophical point of view, "one painting" is the original category of his philosophy, because it is "the foundation of all things, the root of all things.". From the point of view of painting, "this painting has exhausted the Hongmeng, that is, hundreds of millions of pens and inks, and there is no beginning here and ending here, but the ears of the hearers take it." "Specifically, it roughly contains the following meanings: (1) It is the unity of the opposition between the objective law and the law of human creation at the level of painting theory." A painting " is not only the foundation of all beings, the root of all things" but also the "table of the Law" and "the table of the Law." (2) "One painting" represents the aesthetic unity of the painter's subjectivity and the artistic object. On the one hand, he believes that "the painter of the husband is also from the heart", and the eighth chapter of the mountain and river chapter yun: "The mountains and rivers meet the gods and the traces are also transformed, so in the end it comes to the great diya." On the other hand, the Second Chapter of the Dharma Chapter also says: "The painter of the husband, the one who shapes the heavens and the earth and all things." Can focus on subjectivity to objectivity, and from objectivity back to subjectivity. (3) "One painting" contains the meaning of pen and ink lines. The Second Chapter of the Fa Says, after saying "The Painter of The Master, the One Who Shapes The Heaven and the Earth and All Things", says, "Why is it that the pen and ink are shaped?" It shows that Shi Tao attaches great importance to the important role of pen and ink in Chinese painting. The nature of pen and ink is constantly displayed in painting, and it is also shown in calligraphy, the so-called "the world does not enforce the law, the heavens do not cling to ability, not only in painting but also in words." Although calligraphy and painting are two different arts, they have their commonalities in essence and function, that is, "the character and the painter have two ends, and their functions are one". The "two ends" emphasize the difference between calligraphy and painting, so the creation has the necessity of taking each other's methods, and in practice, calligraphy can be used to paint and painting into calligraphy. But the two are one after all, and it is necessary to understand the dialectical relationship between calligraphy and painting.
If we further explore the reasons why Zhang Yanyuan put forward the slogan of "calligraphy and painting with different names and the same body", we will find that his intentions are good. Although Mr. Zong Baihua said in his article "On the Origin and Foundation of Chinese and Western Painting Methods": "Chinese painting takes calligraphy as the backbone and poetry as the soul, and poetry, books, and paintings all belong to the same realm." However, in the long history of ancient China, the status of painting has always been difficult to match that of poetry books.
First look at the position of literature represented by poetry in history, Confucianism represented by Confucius has always had a poetic tradition. Confucius personally set an example and spared no effort to advocate poetics. He admonished his son Kong Li: "If you do not study the Poems, you will not be able to speak" (Analects of jishi), and Confucius pointed out in his analysis of the role of poetry: "Poetry can be prosperous, can be observed, can be grouped, and can be complained." The Father of the Distant, the King of the Distant. This passage from Confucius illustrates the various roles that poetry plays in social and personal life. He devoted his life to education, preaching benevolent government, and using poetry as an important means of educational weathering, and poetry teaching is aimed at the needs of the above. If Confucius only regarded literature as a political tool, then by the time of the Eastern Han Dynasty, Cao Pi pushed pure literature to a very high position. He is the author of the article "Treatise on Classics", which is known as: "Cover the article, the great cause of the country, the grand event of immortality." The years of life sometimes end, the glory and happiness stop at the body, and the two will reach the constant period, not as endless as the article. It is the author of the ancients, who lives in Hanmo, sees the meaning of the text, does not fake the words of good history, does not rely on the momentum of galloping, and the reputation is autobiographical in the future. Therefore, Xi Bo acted quietly and easily, Zhou Dan showed and made ceremonies, not vaguely and vainly, not with well-being. Fu Ran, then the ancients were lowly and heavy, afraid of the passing of the times. And many people are not strong; The poor are intimidated by hunger and cold, and the rich and noble are exiled to leisure and pleasure, so they do their current work and leave behind a thousand years of merit. Cao Pi summarized the role and value of the article as "the great cause of the country and the grand event of immortality", which originated from the confucian so-called three immortals, namely virtue, speech and meritorious service. He implemented the immortal value of literature into the life and personality of specific individuals, and Cao Pi later ascended to the throne of God, and with his status and talent, he expressed the strong desire of a generation of literati to use articles to immortalize the world. This is true of literature, and it is also true of calligraphy. Because in ancient China, both literature and writing skills were as a privilege, reserved for intellectuals alone. Xu Shen's "Preface to the Interpretation of Words in Shuowen" of the Eastern Han Dynasty says: "HanXing has cursive writing. Wei Law: Schoolchildren above seventeen years old begin to test, and the 9,000 words of the satire book are to be officials; And he tried it with eight bodies. The county moved to the history of Taishi and taught, and the most important one thought it was the history of Shangshu. The book may be wrong, and it will be impeached. According to the laws of the Han Dynasty, it is necessary to recite nine thousand words of articles for officials, and at the same time to test the "eight bodies" writing method of Qin, and the people who are promoted to Shangshu history in counties and counties are the best in the examination, and these people will be punished if they write irregularly. And the Eastern Han Dynasty Zhao Yi "non-cursive" Yun: "Yu Junshi has Liang Kongda and Jiang Mengying, all of whom are yan zheye of the world, but Mu Zhangsheng's cursive writing is more than Xikong and Yan Yan." Kong Da wrote books to show Meng Ying, all of them recited their texts orally, and their texts were written in their hands, without slacking off. So the disciples of the later scholars competed with the erxian, kept the order to write a chapter, and wrote a volume, thinking that it was a secret play... Fu Du, Cui, and Zhang Zi all have superhuman talents, erudite leisure time, wandering hands in Si, and future generations. Dedicated to business, drill strong and high, forget its fatigue, sleeplessly, and have no time to eat. Ten days a stroke, a month of pill ink. Leaders are like soap, and their lips and teeth are often black. Although he was in the seats, he did not hesitate to talk about the drama, spread his fingers and painted the ground, cut the walls with grass, scratched the skin through his arms, and broke his fingers and claws, and saw the gills bleeding, and he did not stop. It lists the enthusiasm of readers in society at that time to learn cursive, and regarded cursive as a non-practical pursuit, which also shows the status of calligraphy in the minds of readers at that time.
Throughout the history of the development of ancient Chinese painting, it has never achieved the lofty status of literature and calligraphy in its early days. Before the eighth century AD, this trade was carried out by craftsmen, i.e. craftsmen. Northern Qi Yan Zhitui's "Yan Family Training and Miscellaneous Arts" says: "The work of painting and painting is also a wonderful thing; Since ancient times, many or able to do it. My family tasted the Liang Yuan Emperor hand-painted cicada finch white tuan fan and horse figure, but it was also difficult to reach. Prince Wu Lie can take pictures, sit on the guests, and dye as appropriate, that is, into a number of people, in order to ask children and children, everyone knows the name. Xiao Ben, Liu Xiaoxian, Liu Ling, and literature are out of the ordinary, and this method is restored. Play with ancient and modern, Tek treasure love. If the official is not revealed, every time he is ordered by a public or private envoy, he is also indecent. Gu Shiduan of Wu County was born as a waiter in the Xiangdong Kingdom, and later joined the army for the Zhennan Prefecture Prison, had a son Yueting, a scholar of the Western Dynasty, a father and son, and the art of piano and book, especially Miao Danqing, who was often made by Emperor Yuan, and every time he was ashamed. Pengcheng Liu Yue, the son of Qiu, was also the governor of the Hun Dynasty and the Pingshi County Order, and only learned to be a fast soldier, and his painting was outstanding. Later, after entering Shu with the King of Wuling, he was defeated in prison, so he painted the wall of the Zhijiang Temple for the Land Protector Army, and mixed with the various craftsmen. Xiang made the three sages not know how to paint, and directly transported suye, how can you see this shame?" This passage of record can very well explain the mentality of the Tang Dynasty's former literati doctors toward painting. If the literati want to engage in painting, they also participate in it as painters, which will lose their identity and be despised. Even in the Tang Dynasty, this situation did not change much. According to Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties":
Li De's brother Li Ben (上品下), Xianqing Zhong, Dai Lide was the Shangshu of the Ministry of Works. In the first year of the general chapter, he worshiped the right minister and was the duke of Boling County. He has the talent of the servant, and can also paint and calligraphy, the imperial court number is Danqing, the deification of the beginning, for the Taizong Qin King Ku zhi... Emperor Taizong and his attendants traveled to the Spring Garden, and there were strange birds in the pool, and they followed the waves. Shang loves to play endlessly, summons the attendants to sing songs, and urgently summons Li Ben to write the appearance. Yan Liben, the summons painter in the cabinet, was already in the lord Langzhong when he was standing, running and sweating, prostrating himself on the side of the pool, waving Dansu in his hand, and looking at the guests, he was ashamed. Retired from his son' name: "I am a young man who reads the genus, and now he knows only Danqing, and he is humiliated by the affairs of the service." It is advisable to take a deep vow and not to practice this art. "What is good for nature cannot be given up in the end." and the right phase, and the left phase Jiang Ke is in charge of the cardinal affairs. Ke Zeng made a bian gong, established the original only good Danqing, and the people of the time wrote a thousand words, saying: "The left phase Xuanwei desert, the right phase Chi praise Danqing." Words are not prime ministers.
Even though Yan Liben was the prime minister, he was still grumpy about his status as a painter, and warned his descendants not to engage in the profession of painting again, but he himself was "good for sex, and he could not give up in the end." Also unable to abandon painting is Zhang Yanyuan, who was born in a clan of officials in previous dynasties, and is a three-generation Xiangmen, which can be said to be the home of Zhong Mingding. Zhang Jiazhen, Marquis of Gaozu Hedong, was an official in the Kaiyuan Dynasty to Zhongshu Ling, and Yu Xianxi collected calligraphy and paintings. Great-grandfather Zhang Yanxian of Wei, during the Great Calendar, worshiped Zhongshu Shilang Tongping Zhangshi, Yashan calligraphy and painting, and also liked to collect. His grandfather, Marquis Zhang Hongjing of Gaoping County, was a retired official to the Punishment Department Shangshu Tongping Zhangshi, the Crown Prince Taishi. Good calligraphy, "three changes in the body of the book, as the time is called". His father, Zhang Wengui, served as a defensive observer of the officials Wailang, Huzhou Thorn History, Yushi Zhongcheng, and Guiguan, and also liked to collect calligraphy paintings. After several generations of collection, the Zhang family has a large number of ancient and modern calligraphy and paintings, which are almost comparable to the collection of the royal family. It is this atmosphere of family culture that cultivates Zhang Yanyuan's preference for calligraphy and painting, and also makes him achieve good achievements in the theory of calligraphy and painting and the history of calligraphy and painting. For Zhang Yanyuan, calligraphy and painting are no longer a simple entertainment after tea and dinner, but a place where the spirit can be pinned. He tried his best to change the status of painters at that time, and the "Records of Famous Paintings of Past Dynasties and the Six Laws of Painting" Yun Yun: "Since ancient times, good painters, Mo Bandits, nobles, and yishigao people, vibrated for a while, passed on the fangs and thousands of ancestors, and could not do what Lu Yan despised." Of course, this statement is inconsistent with historical facts, in order to create a momentum for the painter. What Zhang Yanyuan had to do was to theoretically improve the status of painting, and "calligraphy and painting in the same body" was the best way he could think of to create momentum for this propaganda. However, Zhang Yanyuan's efforts were not immediately rewarded, and until the Song Dynasty, the social status of painters was still worrying, and painting was still "the business of the scholars who regard this as a despicable person, and they all disdain it." (Zhao Xihu's "Dongtian Qinglu Collection")
Zhang Yanyuan's vigorous advocacy was not in vain, and there was no shortage of literati and doctors in later generations, among which the representative figure was Su Shi of the Song Dynasty. Su Shi was imprisoned for making poetry, which is the famous "Wutai Poetry Case", in order to vent his grievances, painting became a good expression of emotion. Literati painting did not pay much attention to skill and professionalism, and it was deliberately distinguished from the previous craftsmen and painters, so its own cultural quality must be highlighted, and it was particularly necessary to emphasize the inherent identity of painting and calligraphy and poetry. Su Shi said: "On the painting to resemble the shape, see the neighbor with children." The poem must be this poem, and it must be known that it is not a poet. Poetry and painting books are all the same, natural work and freshness. (Su Shi's "Two Folded Branches Painted by the Master Book of the King of Yanling") Su Shi's "Poetry and Painting Uniform" is the same as Zhang Yanyuan's "Unity of Calligraphy and Painting", and its purpose is to elevate the status of painters and consolidate the cultural connotation of painting. Although Su Shi practiced it, a small group of literati paintings was formed around it, and it had a certain social influence at that time, which had a certain improvement in the status of painters. However, the real improvement in the status of painters was only valued by the entire group of scholars and doctors from the Yuan Dynasty, especially after the Yuan Sijia. After the Mongols occupied the Central Plains, they once abolished the imperial examination system (the Yuan Dynasty actually interrupted the imperial examination for 77 years in the middle of less than a hundred years of history), the status of the Han and Southerners was low, the hopes of intellectuals to enter the career path were shattered, political ideals were in vain, and social contradictions were increasingly aggravated, making the actual survival of Han intellectuals very difficult, "high and far away, leaving the world" has become an important behavioral choice for them, and hiding in the mountains and forests has become a common principle and moral posture of standing in the world at that time. Behind this moral gesture, there is both helplessness and the pursuit of spiritual freedom. In the Confucian principle of "reaching the world and helping the world, and the poor are good at their own", the corresponding "da" and "poor" are "Shi" and "Cain", without the opportunity of "Da", "Cain" naturally becomes the only option and core value of its actual survival, there is no difference between the noble and the inferior, and the brush in the hand has become an important way to express and vent their emotions. For most literati, between traditional painting techniques and calligraphy, the latter is what they are more handy, that is, at this time, Zhang Yanyuan's "calligraphy and painting homogeneity" and the northern Song Dynasty's humanistic advocacy of the concept of painting that does not seek form have become a conscious cultural identity, and ancient painting has gained a new great vitality.
[Resources] Xu Fuguan. The Spirit of Chinese Art[M].Shanghai:East China Normal University Press,2001.] He Zhiming, Pan Yunzhao. Painting theory of the Five Dynasties of the Tang Dynasty[M].Changsha:Hunan Fine Arts Publishing House,1997.] Chen Yandong. Chinese Calligraphy and Painting and Literati Consciousness[M].Chengdu:Sichuan Fine Arts Publishing House,2006.] Zhou Jiyin. Theory of Chinese Dynasty Painting[M].Nanjing:Jiangsu Fine Arts Publishing House,2013.] Chen Chuanxi. History of Chinese Painting Aesthetics[M].Beijing:People's Fine Arts Publishing House,2000.]
(Meng Yunfei reprinted from Journal of Hubei Normal University (Philosophy and Social Sciences Edition), No. 5, 2015)