Calligraphy and Painting Alliance丨 Landscape Painting Yunshui Waterfall Painting Method and Development, it is worth seeing

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Since the beginning of the Ming Dynasty, the art of painting has developed unprecedentedly, and brilliant achievements have been made in terms of subject matter, structure, and technique. The rise of the Wumen sect and its profound influence on the art world are historical witnesses.

Shen Zhou Lushan High Map

In the landscape painting in the middle of the Ming Dynasty, the Yunshui Waterfall began to become popular, the void of the picture left more white, and the feeling of smoke and clouds added infinite charm and artistic conception to the landscape painting. Although the form of painting also pursued the Style of the Song Dynasty, it abandoned its repressive layout, and by absorbing the advantages of Guo Xi and the open and comfortable composition since the Southern Song Dynasty, a new form was improved, and landscape painting began to move towards ethereal, and the virtual reality of Chinese painting was significantly improved. The most typical is Shen Zhou's "Lushan Gaotu", although it also adopts the Song people's full-scale composition with the main peak of the mountain as the main body of the painting, and also paints a waterfall, but what is missing is the Song Dynasty paintings that are majestic and dangerous, majestic, and reflect the sense of depth, which adds the gentle and elegant atmosphere of the literati.

Dong Qichang's landscape paintings are assigned

Dong Qichang imitates Song people paintings

Later, the great painter Dong Qichang of the Ming Dynasty began to divide landscape painting into two major sects of the north and the south, namely the majestic and rigorous landscape of the north school, and the rewriting of reality; while the southern school of landscape and water was ethereal and beautiful, with a far-reaching artistic conception and a heavy artistic conception. Dong Qichang criticized the Northern School of landscapes for being too rigorous and lacking in fun and humanistic spirit, and his academic view of valuing the South over the North was supported by many literati and doctors at that time. It was because of the literati's appreciation of painting.

Since the literati intervened in the painting world, some of them also became professional painters, and they experienced a form of painting that was not bound by the program, had no sense of oppression, was more relaxed, more free, and more suitable for expressing emotions. It is so, even if it is also a composition with the mountain peak as the main body of expression, it shows different meanings. "Yi ink skimming, scholarly style", rich in layered ink rhyme is the beauty of "emptiness" pursued by the Nanzong School.

Works by Dong Qichang

The characteristics of Chinese painting in the form of brush and ink to write out clouds and mist landscapes have developed to a very mature time in the Qing Dynasty, but the ancient atmosphere of Qing Dynasty painters and teachers is too heavy, and there is less master creation. Although the four kings painting form with imperial ideas began to appear in the early Qing Dynasty, its influence continued until the middle of the Qing Dynasty, which invisibly formulated a new program for landscape painting. However, tracing its origins, it is mainly from the creation prototype of Huang Gongwang in the Yuan Dynasty and the influence of painting forms since the middle of the Ming Dynasty. The main objects of expression of the painting are mainly the hills and earthen mountains in Jiangnan, the so-called waterfalls, but they are close to the mouth of the water, and the splash waterfalls that "the water in the mountains want to flow and the stones fall violently, and the waves are like rolling", not the waterfall springs that flow down.

Qing-Wang Yi Shuige Youshan Diagram on Paper 48.7x92.4

As the Qing Dynasty painter Qian Du wrote in the "Songju Painting Memories": "The waterfall spring is very difficult, and the big idiot old man (Huang Gongwang) also thinks it is not easy to do." The mountains and rocks on both sides of the whiskers are jagged, and naturally make up for a second. Slightly far-fetched, it falls off. The water inlet or the use of gravel, or the establishment of water pavilions, bridges, can be hidden by means of clumsiness, this is the beginner's ear. Although it is a beginner's statement, it cannot hide their limited understanding of waterfalls influenced by stylized painting. Therefore, there is no longer a waterfall in the Northern Song Dynasty' pen that flows down three thousand feet. As for the works of the "Four Monks" and "Yangzhou School" as alternative painters, they are closer to the consciousness of the literati, not only have many long titles in the paintings, but also integrate calligraphy into the works.

Shi Tao's landscape paintings broke through

Works by Shi Tao

However, the real breakthrough in the depiction of clouds and waterfalls in Chinese landscape paintings is the painter Shi Tao. Compared with Dong Qichang's exposition of the Ming Dynasty on the character evaluation of his predecessors to build up his self, Shi Tao's "Quotations on Painting" and his "Great DiYu Inscription Painting Poem" are more of epochal significance.

Shi Tao disagreed with the comparison between the likes and dislikes of the predecessors and the people of the time on the traditional teachers, opposed the mud ancient immortals, and shouted loudly, "There are southern and northern sects in the painting, my sect? Dzong has Yay? "I have my own law." He advocated that pen and ink should be contemporary: "search for Qifeng to make drafts", therefore, the landscape paintings of Shi Tao that we see today are ethereal and natural, and full of paper smoke, and the otherworldly charm shows his uniqueness and perception and closeness to life. His emphasis on "life" is based on the rich strengths of his own travel practice.

The formation of Shi Tao's artistic style is entirely based on the real mountains and real water in nature as the source of powder. On the journey of the world's famous mountains and rivers, Shi Tao wrote a treatise on the creation of a wise man who traveled to the clouds and painted the enlightenment path in Zen. Shi Tao's treatises are of great significance both in the ming and qing dynasty painting works and in the entire history of the development of Chinese painting theory.

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