Text / Guan Yun
Moderator's Message: Yin Peng takes the collection of paintings and calligraphy of several physician families in the Wumen area as the starting point, analyzes and examines the works, inscriptions and local chronicles and other materials, and presents the poetry, calligraphy and painting appreciation activities and exchanges of the doctors, a group with both special identity and general literacy of scholars, to effectively discuss their influence on the history of collecting and painting in the Wumen area in the Ming Dynasty, and also bring readers a deeper impression of the profound cultural accumulation in Wudi. Since the rise of the late Ming Dynasty, the retro trend of aesthetic fashion with the "Nanzong" literati painting as the mainstream has affected the aesthetic concepts and paths of artistic creation of a large number of painters, and Lan Ying, a professional painter living in the late Ming and early Qing dynasties, is one of the typical representatives. At present, most of the antique problems of Lan Ying are only discussed at the macro level in theory, and there is a lack of specific micro arguments. Based on this, Guan Yun analyzed and discussed the problem of Lan Ying's antique from three aspects: the expression, purpose and essence of Lan Ying's antiquity, and believed that the essence of Lan Ying's antique is an artistic practice activity that innovates and develops in inheritance. Taking the collection of Chinese paintings at the Harvard Art Museum as an example, Fu Huimin and Xu Runzhe cite a large number of documents to sort out the process of the collection of Chinese paintings by Edward Bruce, an American, who was a collector, an artist, and a public art project manager during Roosevelt's New Deal, into the Harvard Art Museum, and also describe the cultural and creative influences of Chinese painting and the Chinese painter Huang Binhong guiding him, and can also see the changes in the aesthetic perception and collection research of Chinese painting in the United States in the 20th century. (Xu Ling)
Abstract: This paper analyzes and discusses the problem of Lan Ying's antiquity from three aspects: the performance, purpose and essence of antique. Through research, it is found that Lan Ying's antique performance is mainly based on the fusion of various families locally, and the overall is mainly godlike. The purpose of Lan Ying's antiquity is also to reflect the needs under the domination of different ideological motives: the early stage is to achieve success in painting, reflecting Lan Ying's psychological need for self-realization under the domination of achievement motives, and the middle and late stages are to seek the transformation of professional painter to literati painter, in order to obtain a sense of literati belonging, reflecting Lan Ying's spiritual need to be accepted and recognized by literati under the motive of communication. The essence of Lan Ying's antique behavior is an artistic practice that innovates and develops in the process of inheritance. Clarifying the above issues is conducive to further understanding of the problem of Lan Ying's antiquity.
Keywords: late Ming and early Qing dynasties, Lan Ying, antique, "North and South Sects" theory
In the late Ming Dynasty, the Jiangnan was popular with the literary and artistic trend of retroism, and this retro style also spread to the field of painting. A group of professional painters with profound antique skills were also active in the landscape painting world, catering to the ancient preferences of the society at that time, and Lan Ying, who lived in the late Ming and early Qing dynasties, was a typical representative. At present, the academic community has different discussions on the problem of Lan Ying's antiquity. The American scholar Levinson believes that Lan Ying penetrated the painting style of the Zhejiang and Wu schools. [1] Gao Juhan believes that Lan Ying has formed a new style of painting through inheritance, digestion, and fusion. [2] Some domestic scholars believe that Lan Ying's antiquity "has a subjective tendency to learn from the north and the south" [3]. Some believe that the Wulin School, led by Lan Ying, revived the tradition of Jin and Tang Dynasty painting on the landscape of the color body, and mainly used the Yuan people as a model in the color style landscape, and its color body is also "an evolved form of the 'Five Dynasties Northern Song Dynasty Style'" [4]. In addition, for Lan Ying's antique behavior, the American scholar Gao Juhan believes that it represents a reaction of the painter to Western oil painting. [5] Lang Shaojun believes that "in essence, it is not retro, but the promotion and creation of retro as the banner and way" [6]. In the overall context of the retro ideology of the late Ming Dynasty, there are reasonable elements to examine these views. However, based on Lan Ying's teaching objects at different stages and the specific manifestations of antiquity in landscape paintings, combined with the speculation of her ideological motives and needs, it is necessary to analyze and discuss Lan Ying's antiquity again.
Gao Juhan and Fan Jingzhong, two scholars, believe that "as for the problem of 'imitation', if we only stay in theory and do not look at how it works in practice and in specific paintings, then any explanation will not be to the point." [7] This shows that the antique behavior of the painter should not only be explained theoretically, but also explored from the painter's work. This kind of epistemological guidance has methodological guiding significance for interpreting Lan Ying's antique problem. So, in the context of the retro trend of thought in the late Ming Dynasty painting world, what kind of expression, purpose and essence does Lan Ying's antique have? These questions need to be analyzed and discussed on the basis of previous research. To this end, this paper attempts to explore the expression, purpose and essence of Lan Ying's antique, so as to further clarify and understand the problem of Lan Ying's antiquity.
1. Interpretation of the concepts of "imitation" and "law": the basis for discussing the problem of Lan Ying's antiquity
In order to clarify the relationship between the words "imitation" and "law", it is first necessary to interpret the literal meaning of "imitation" and "law". Only in this way can we implement the discussion of the problem of Lan Ying's antique. "Imitation" is explained in "Shuowen Jie Zi" as: "Imitation, similarity." [8] It means that the two are similar and have something in common. The interpretation of "imitation" in the Modern Chinese Dictionary is "imitation", which can be understood as doing according to the appearance specified in the model, which is a kind of imitation, so the result is "similar". The interpretation of "law" in the Kangxi Dictionary is "imitation also" [9], which can be understood as imitation, standard, and imitation, such as French style and law post. "Law" is called "effect" and "technique" in the "Chinese Dictionary". [10] "The program of the world is also." The instrument of everything, too. [11] Taken together, these interpretations of "Fa" refer to the methods of painting by predecessors as the standard or by imitating the methods of painting by predecessors. Secondly, in order to further clarify the antique characteristics of Lan Ying's landscape paintings, it is necessary to make a brief distinction between "imitation" and "copying" [12]. In the Qing Dynasty, Gu Linshi called "copying" together when discussing the difference between "imitation" and "copying", and he believed: "The imitator, imitating its general idea, is not copying." It is better to imitate the antiquity to get the whole of the person, and to imitate the form of the person is not as good as to imitate the ancient to get the god of the person. [13] However, in modern times, Ding Xiyuan expounded "copying" separately, pointing out the specific difference between "imitation" and "copying" and "imitation", and argued: "In Chinese painting, especially the terminology and concepts related to techniques and professions, there is considerable rigor, certainty, and subtlety. That is, if 'imitation' is different from 'pro' and 'imitation'...... But 'imitation' never means a rigid copy of the corners of the stroke, a lifeless plagiarism. The original meaning of 'imitation' is a kind of letting go, relying on it and tracking it willingly. In Shuowen, "imitation" is "髣" (as if), and in the painting it is often written as "imitation", which is interpreted as "chasing", and "imitation" more or less means that it has been detached from the original and has the meaning of creating with affection, so it is different from "pro" or "g". 'G' requires it to be realistic, 'Pro' needs to be so large, and 'imitation' captures its spirit, which has different levels of requirements. ”〔14〕
From the above, it can be seen that there is a clear difference between "imitation", "law" and "pro" and "g":
First of all, "imitation" and "law" focus on highlighting the resemblance because of the "spirit of the painting", focusing on the similarity of a certain brush and ink technique, rhyme, style, etc. in the excellent works of the predecessors, not the imitation of the original work, but only the pursuit of the "meaning" of the original work. Therefore, such works often end up with a complex appearance, and the viewer cannot immediately perceive who the work is imitated from, and only by careful analysis and comparison of the works can we know from which family the borrowed elements or expressions come from. Such works can be said to be the painter's reference, imitation, and blending of various works of his predecessors, and they are "the culmination" of works. Compared with the works of "Pro" and "G", it shows the painter's innovative thinking of actively seeking innovation.
Secondly, because of the "pursuit of realism", "Pro" and "G" focus on highlighting the similarity, and pursue the realism and consistency with the original work in terms of composition, brushwork, color, expression skills, paper size, material and color. Of course, this kind of learning can be a simple partial study of the works of predecessors, or it can be a whole study. Because of the pursuit of realism with the works of predecessors, such works can be used as "second-hand information" for the viewer to understand and analyze the characteristics and thoughts of the predecessors' painting styles.
To sum up, through the above interpretation of the meaning of "imitation" and "law" and the difference between the meaning of "pro" and "imitation", it can be seen that "imitation" is a way to learn from the past model as the object, and "law" is a kind of program, which is the imitation or imitation of a certain thing or program, which can be further extended to a way for painters to imitate their painting methods or painting programs according to the works of their predecessors. "Imitation" and "Fa" both contain the meaning of the predecessors of the Dharma, the pursuit of imitating its whole picture, taking its spirit, focusing on the similarity of "God"; and "Pro" and "Imitation" are also the predecessors of the teacher, the pursuit of the proximity of the general, the imitation of its verisimilitive, focusing on the similarity of "form".
2. Lan Ying's antique expression: based on the interpretation of landscape paintings
Lan Ying's artistic development path can be divided into the early stage (the god-like stage before the age of 37 when he went north to Songjiang), the middle stage (the transition stage of innovation between the age of 37 and around 60), and the late stage (the original stage after the age of about 60). [15] Although Lan Ying's teaching objects were different at each stage, her landscape paintings still reflected some obvious characteristics of antiquity. Here we mainly discuss Lan Ying's early, middle and late landscape paintings.
(1) Local manifestations: mainly to integrate various families
First of all, the local integration of Lan Ying's landscape paintings in the early stage is more obvious. According to the title of the painting, it can be seen that in the thirty-ninth year of Wanli (1611), "imitation of Minan Palace Chu Mountain Qingxiao Tu" is Lan Ying's imitation of Mi Fu's work. It can be compared with Mi Fu's work "Xiaoxiang Wonders" and found that Lan Ying in the work of the triangular mountain shape and size mix of the method, and Mi Fu "Xiaoxiang map" in the mountain shape and "drop eggplant point" is similar. Similarly, according to the information, it can be seen that Lan Ying's "Autumn Color Scroll of Xishan Mountain" made in the 11th year of Wanli (1583) not only adopts the brush and ink technique of the mountain body lotus leaf in Zhao Mengfu's "Autumn Color Picture of Quehua" and the composition method similar to Huang Gongwang's combination of Pingyuan and far-reaching, as well as the law of mountain and stone layout with both size and size, but also the same as Dong Qichang's "Daytime Jintang Picture" There is a certain degree of similarity between the composition and the layout of the mountains and rocks, just as some researchers believe that Lan Ying had traveled with Dong Qichang in her early years, and under the inspiration and influence of Dong Qichang, you can vaguely see the traces of Dong Qichang's boneless landscape. 〔16〕
Secondly, this fusion is also reflected in Lan Ying's mid and late works. For example, in "Imitation of Fan Kuan's Landscape Fan Page", the shape of the mountain body in the picture is close to the tall mountain shape and the expression technique of the low bushes on the top of the mountain in Fan Kuan's "Traveling in Streams and Mountains". In addition, the dynamic characteristics of the characters in the picture are also similar to the image of the fisherman in Wu Zhen's works. At the same time, Lan Ying's "Imitation of Fan Kuan Landscape Fan Page" adopts a corner composition, with the left being void and the right being solid, the left sparse and the right dense, which should be caused by Lan Ying's influence on the composition of "one corner and half of the side" of Ma Xia in the Southern Song Dynasty.
From the above, it can be seen that the antique of Lan Ying's landscape painting does not completely follow the modeling style, brush and ink language or composition program of a certain family, but combines the schemas, brushstrokes or elements of each family together to construct a part of the work, so as to have a fusion of expression, just as the "Continuation of the Illustrated Treasure Book" said: "(Lan Ying) middle-aged self-reliant, Song and Yuan Dynasty respectively, someone is dyed with guanidine, someone is hooked, it is not wrong, so far after learning, salty and beneficial." [17] This also shows that Lan Ying's landscape painting has the characteristics of integrating elements from various schools, and he can extract the brush and ink language, composition and modeling elements of the objects he teaches as a part of his landscape paintings, so that the works have the characteristics of integrating the characteristics of each family of brushwork or element symbols.
Lan Ying's fusion of various expressive techniques shows a certain connection with the object of the teacher's method in terms of brush and ink language, composition and modeling elements, and identifies it through information or painting titles, showing the world where her landscape painting originates, providing a channel that can be entered to explore Lan Ying's antique expression.
(2) Overall appearance: mainly resemblance
In addition to integrating the characteristics of each family, the antique landscape painting of Lan Ying also has obvious god-like characteristics in the overall appearance because of such characteristics.
First of all, Lan Ying's pursuit of "god-likeness" in the early stage can be counted from the "Zhu Zhu Picture Scroll" when Lan Ying was 23 years old in the 35th year of Wanli (1607). [18] This was completed in collaboration with Sun Kehong, and it is also the earliest work of Lan Ying that has been discovered, and he borrowed Wu Zhen's wet brush and ink to express the texture and layers of the stone body. Later, in the 39th year of Wanli (1611), Lan Ying was 27 years old, and in the 40th year of Wanli (1612), when Lan Ying was 27 years old, she was 28 years old, and her 28-year-old Autumn Colors of Streams and Mountains [20] also showed a "resemblance and non-similarity" appearance with the works of the teacher's subjects. In "Chu Mountain Qingxiao Map", Lan Ying often combines Mi Fu's "rice dots" pen and ink language performance skills to draw a tall main peak. It can be said that Lan Ying on the basis of drawing on Mi Fu's performance skills or constituent elements, has achieved the artistic effect of "blue out of blue". In the Autumn Colors of Streams and Mountains, the method of outlining, dyeing and lightening the colors of color and ink has been changed to replacing ink with color, and the use of color pens has begun to express the picture. Although the previous double-hook method continued to be used in the trunk of the tree, it also began to appear on the trunk in a mixture of ochre and ink. Due to the use of color as the main means to shape and depict the image of objects, these double-hooked tree trunks have become the only bone line in the picture, and they are also the most intense ink used in boneless landscape paintings such as Lan Ying. In other areas, Lan Ying is all drawn with colored brushes, such as mountains, leaves, aquatic plants, sand trees, etc. Comparing with Dong Qichang's changes before and after the coloring from the early stage to the late period of color and ink combination, it is found that Lan Ying's boneless landscape is obviously influenced by Dong Qichang's boneless landscape. From Lan Ying's birth (1585) to middle age (1613), Lan Ying was only 28 years old. From this it can be seen that Lan Ying began the pursuit of "god-like" very early.
Secondly, Lan Ying's landscape paintings are often inscribed with the words "imitation of a certain family" or "law of a certain family". The works that write "imitation of a certain family" mainly include "Autumn Color Picture of Xishan Mountain" [21] [21] of "Imitation of Songxue Xishan Autumn Color Map, and Brush Method of Big Idiot", "Imitation of Mi Lao" "Imitation of Minan Palace Chushan Qingxiao Picture" [22], "Imitation of Big Idiot Fuchun Mountain Scroll" [23] and so on. The main works that wrote "Fa Moujia" include: "Imitation of Wuzhen Landscape Picture Axis" [24] by "Fa Mei Shami", "Imitation of Yan Wengui Autumn Gully Seeking Poetry Picture Axis" [25], "Fa Li Tang" "Imitation of Li Tang Landscape Picture Axis" [26] and so on. If these works are compared with the paintings of Li Tang, Mi Fu, Yan Wengui, Zhao Mengfu, Huang Gongwang and Wu Zhen who write "imitation" and "law" objects, it is found that some of Lan Ying's early and mid-period antique landscape paintings are mainly "god-like". For example, the Mi Fu triangular mountain into a line model, the Huang Gongwang mountain into a square fold image, Wu Zhen wet pen and ink directly used in the performance of the texture of the mountain.
If the basic interpretations of "imitation" and "law" (focusing on god-likeness), "pro" and "g" (focusing on form-likeness) in the previous text are taken as the criterion, we can know that Lan Ying takes "god-likeness" as the main purpose of antique learning, and does not pursue the similarity with the original work, but only pursues the characteristics of "similarity and non-similarity" to achieve the overall appearance of "god-like". "The Continuation of the Illustrated Treasure Book" also praised Lan Ying, saying: "Painting has awakened from Huang Zijiu's entry. Since the Jin and Tang dynasties, all of them are exquisite, and the imitation of the Song and Yuan dynasties can be true. [27] This effect of "chaotic reality" can be confirmed in Lan Ying's imitation of Huang Gongwang's works, such as in the eleventh year of Chongzhen (1638), Chen Jiru inscribed Lan Ying's "Linda Idiot Landscape Scroll": "The river is thick, the grass and trees are blooming, and this Zhang Boyu has been painted for a long time." If you see this volume of Uncle Tian, you will feel that the idiot has turned over and made a mistake, and the treasure should not be allowed to fly through the cupboard. Eighty-one Weng Chen Jiru inscription. [28] Although it is a slight exaggeration, it also shows that there is a great similarity between Lan Ying's landscape paintings and Huang Gongwang's works. 〔29〕
In addition, Lan Ying's pursuit of landscape painting is due to the guidance of Chen Jiru, Sun Kehong, Dong Qichang and others on the one hand, and on the other hand, it is also closely related to his talent and intelligence since childhood. According to the old "Zhejiang Tongzhi", Lan Ying not only "was young and different, at the age of eight, she tried to follow the affairs of the people's hall, dipped in ash to paint the ground, made mountains, rivers and clouds, and the peaks and peaks of the forest, and there was a potential of thousands of miles at hand" [30], but also the figures and boundary paintings were also "dyed in accordance with the ancient method, and her detailed depiction of the palace style was the folds of the clothes and colors of the boundary paintings, and they broke through the people of the Song Painting Garden" [31]. It can be seen that although Lan Ying is from an ordinary background, she is very smart and has a talent for painting, and the scenery of mountains, rivers and forests and the paintings of people are extraordinary. Although the comments of some celebrities recorded in the local chronicles are exaggerated, to a certain extent, it also reflects that Lan Ying had painting experience and painting experience very early, and had the expressive ability to control landscapes, figures and boundary paintings. In addition, Jiangsu and Zhejiang have the style of the Southern Song Dynasty Academy, the aftermath of the Zhejiang School, and the three painting styles of the Huating School headed by Dong Qichang exist at the same time.
3. Lan Ying's antique purpose: the reflection of individual needs and motivations
In the retro trend of thought of the late Ming Dynasty's "North and South Sects" theory, Lan Ying first took Wang Wei, Dong Yuan, Ju Ran, Mi Fu, Wu Zhen and Dong Qichang and others as the objects of teaching, and began the antique study of Nanzong landscape painting; After studying the painting style of the north and the south, his landscape painting style not only has the artistic conception of the ink and wash of the Southern Sect and the artistic conception of the far-reaching artistic conception, but also has the rocky mountains of the Northern Sect and the majestic image of the weather. So, in the process of learning painting, why did Lan Ying change the object and path of teaching? What is the purpose of this? What kind of motivation does it reflect? Especially after the middle and late periods, the expression of Lan Ying's landscape painting has departed from the "Southern Sect" painting style advocated by the late Ming Dynasty retro ideology, although its painting style is different from the mainstream aesthetic fashion of the late Ming Dynasty painting circle, however, Lan Ying still has the normalized behavior of inscribed "imitation" and "law". What is the purpose and motivation behind this behavior?
From the perspective of psychology, there is a certain relationship between the motivation and purpose of an individual's behavior. Lan Ying's antique behavior at different stages has different purposes and motivations. The term "motivation," or "push," is an explanatory concept used to explain why an individual behaves this way or that. Specifically, it refers to the psychological tendency or internal motivation that motivates and sustains an individual's behavior and makes the behavior towards a certain goal. [32] Motivation is divided into physiological motivation and social motivation, physiological motivation is based on the physiological needs of the organism, and is a relatively low-level motivation; social motivation, also known as psychological motivation, is derived from social needs, and is related to people's social needs, and is a relatively high-level motivation, which is divided into curiosity motivation, achievement motivation, communication motivation and learning motivation. [33] Motivation is related to personal needs, and when a certain need is not satisfied, it will motivate people to find the object of satisfying the need, thus generating individual motivation for activities and behaviors. 〔34〕
Combined with Lan Ying's antique life process, the historical records of painting, and the occurrence and development of individual needs, Lan Ying's antique motives and purposes can be placed in the category of social motives to achieve motivation and communication motives to be discussed, so as to clarify Lan Ying's antique purposes at different stages. It should be pointed out that motivation and purpose are causal, and different motivations lead to different purposes. These two motives are not absolutely opposite in Lan Ying's lifelong painting career, but the emphasis is different, so the purpose of the production is also emphasized.
(1) Early stage: the pursuit of success and reputation in painting
A. Maslow, an American humanist psychologist H. Maslow's hierarchy of needs theory holds that the basic needs of human beings are interconnected, interdependent, and overlapping, and are a wave-like evolution, evolving from the first level to the higher level, and this needs theory embodies the law of the development of human needs. [35] After Lan Ying failed in the imperial examination in her early years, she "abandoned literature and art" [36], hoping to leave her name with "Tu". He once said after failing the imperial examination: "The ancients had pictures before they had books, so why should they not be famous[37], which was his words of self-encouragement and comfort after failing the imperial examination, but also reflected the mentality and ambition of aspiring to succeed in another way after failing to pursue a career as a literati. American psychologist David C. McClelland also believes that there is a close relationship between achievement motivation and the level of personal ambition. The so-called "achievement motivation" refers to the internal motivation and psychological tendency of an individual to strive for success and excellence in order to achieve a higher goal, and the level of ambition also refers to the goal that a person sets for himself to achieve when pursuing achievement or engaging in a certain kind of work. [38] Therefore, under the domination of this need and ideological motivation, Lan Ying visited famous teachers in the Songjiang area, where literati painting was popular at that time, around the 35th year of Wanli, and studied painting under Chen Jiru, a great writer and painter, and Dong Qichang, a representative of the Songjiang School. Following Dong, he painted a large number of landscape paintings, such as: Wanli 31 (1603) "Xishan Autumn Color Picture Scroll", Wanli 35 years (1607) "Zhu Zhu Picture Scroll", Wanli 39 years (1611) "Imitation of Minan Palace Chu Mountain Qingxiao Map", Wanli 40 years (1612) "Imitation of a Peak Taoist", Wanli 41 years (1613) "Perch Township Miscellaneous Painting Scroll", Wanli 45 years (1617) "Imitation of the Great Idiot Landscape", Taichang first year (1620) "Spring Pavilion Listening to the Spring Map" , and "Minan Palace Chu Mountain Qingxiao" in the second year of the Apocalypse (1622) "Antique Landscape Painting Album". At the same time, Lan Ying also read all the famous paintings in Dong Qichang's home, and in the "Essay on Painting Zen Room", Dong Qichang recorded that he had "Dong Beiyuan Xiaoxiang Map", "Jiangguan Dao Jiangju Map", "Zhao Danian Summer Mountain Map", "Huang Dafeng Fuchun Mountain Map", "Dong Beiwan Expedition Business Map", "Cloud Mountain Map", "Autumn Mountain Travel Map", "Guo Zhongshu Rim River Zhaoyin Map", "Fan Kuan Snow Mountain Map", "Gongchuan Mountain Residence Map", "Zhao Ziang Dongting Two Maps", "Alpine Flowing Water Map", "Li Yingqiu Colored Landscape Map", "Mi Yuanzhang Cloud Mountain Map", "Juran Landscape Map", "General Li Shujiang Map" General Li Autumn River to be crossed", "Song and Yuan Dynasty Book Leaves Eighteen Paintings" and so on [39], it can be seen from the style or title of Lan Ying's works that these painters are also the objects of Lan Ying's frequent teaching. In addition, Lan Ying also collaborated with the famous literati painter Sun Kehong in painting and calligraphy, painting the "Bamboo and Stone Picture" of the "Ming Five Families Zhu Bamboo and Ink Stone Scroll", which is conducive to expanding Lan Ying's painting vision, increasing the reputation of Lan Ying's painting and the recognition of fellow painters.
The retro trend of thought in the late Ming Dynasty painting world is also the basis for Lan Ying's early antique behavior. Lan Ying's early life in the late Ming Dynasty painting circle was the time when the "Northern and Southern Sects" led by Dong Qichang flourished. As a result, it influenced the trend of painters at that time to learn from their predecessors, especially the aesthetic fashion of keeping up with the literati paintings of the Southern Sect. The literati's admiration and attention to the literati paintings of the Southern Sect with both ideas and tastes for pen and ink profoundly influenced the occurrence of Lan Ying's antique behavior. After Maslow's research, human needs are divided into eight levels from low to high, of which security needs are located at the second level of needs theory. According to him, the need for security is "the individual's need for organization, order, security, and foresight, which arises after the physiological needs are relatively satisfied, including stability, protection, freedom from fear and chaos, freedom from anxiety, etc., especially the need for discipline and order" [40]. Judging from the popularity and dominance of the aesthetic fashion of the retro "Nanzong" in the late Ming Dynasty, the above-mentioned "discipline" and "order" can establish a certain degree of connection between the requirements of this retro "Nanzong" literati painting and the pursuit of aesthetic style. In other words, the late Ming Dynasty painting world has norms and constraints on the objects of the teacher and the style of painting. Therefore, from this perspective, this kind of norm and constraint can be regarded as the "discipline" and "order" of the late Ming Dynasty painting world. Under such discipline and order, for Lan Ying, who was determined to become famous for painting at that time, it was inevitable to follow the discipline and order recognized by the society at that time. If Lan Ying deviates from the scriptures, not only will she not be recognized by her peers, but she will also be far from her goal of becoming famous with paintings. It can be seen from this that Lan Ying's determination to pursue painting as a career before middle age, to leave a name for himself, and to pursue the purpose of success is another important reason for Lan Ying's motivation for achievement. At the same time, because of the objective existence of "discipline" and "order" in the mainstream fashion of the retro Southern Sect, Lan Ying was able to keep up with the pace of social retro thought under the idea of safety needs, which caused Lan Ying to adopt a pandering attitude towards the aesthetic fashion of the late Ming Dynasty painting world. The reason for this is that Lan Ying is to integrate into the mainstream team of the "Southern Sect" with such behaviors and gestures, so as to obtain success in painting and the corresponding reputation, which reflects Lan Ying's personal desire for success under the achievement motivation of "leaving a name for painting".
(2) The middle and late stages: the pursuit of a sense of belonging to the literati
After Lan Ying "set up her own court" in middle age, her painting style was different from the "standardized" literati painting style at that time, but she still inscribed "imitation" and "law" in her paintings, and this normalized behavior can be interpreted again according to Maslow's hierarchy of needs theory. According to Maslow, the need for belonging and love is the individual's desire to have an emotional relationship with others and to have a certain position in the group, such as love, friends, and community activities. In addition, when an individual has met physical and safety needs, there is a need for intent and love. [41] Lan Ying was denounced and vilified by literati theorists because of her status as a professional painter, and from the perspective of psychological and emotional deficiencies, she should also be classified as part of this need. At the same time, combined with Lan Ying's middle and late stage of communication, calligraphy and painting activities, etc., the antique purpose of this stage is also the result of a kind of communication motive. The so-called "communication motivation", also known as "affinity motivation", specifically refers to the internal motivation of an individual to be close to others. It is a manifestation of an internal drive that reflects an individual's inner motivation to act in pursuit of a missing need. Maslow also believed that people also have a need for respect based on self-esteem, self-love, and the expectation of being recognized by others, groups, and society based on self-evaluation. This need for respect arises when the need for belonging and love are met at the same time. If this need cannot be met at the same time, people will develop feelings of low self-esteem, helplessness, loss and frustration. 〔42〕
In the early stage, Lan Ying studied the landscape painting of "Nanzong", and through the admiration and support of Chen and Dong, she also worked hard, so that she won a good social reputation. However, in the late Ming and early Qing dynasties, when literati had the right to speak, Lan Ying was classified as a professional painter and was full of criticism and rejection. The first to criticize Lan Ying was Zhang Geng, a painting historian in the early Qing Dynasty, who criticized Lan Ying's painting style in "Pushan on Painting": "...... To the Ming Dynasty, there is the purpose of the Zhejiang faction, which is also a faction, which began with Dai Jin and became Lan Ying. There are four kinds of missing covers: hard, board, bald, and clumsy. [43] In addition, Dong Qichang's Nanzong literati paintings are "clouds and stone traces, bursting out of heaven, vertical and horizontal, and participating in the creator"[44], and the ideas, talents, cultivation, and learning embodied in them are naturally much higher than the works of professional painters who are not highly educated and cultivated. This phenomenon shows that the painting circles in the late Ming and early Qing dynasties attached great importance to and affirmed the identity and academic accomplishment of painters and literati, and also reflected the innate lack of cultural cultivation of Lan Ying.
When studying individual motivation, psychology points out that people's communication motivation arises because of the need for care and help from others, support and cooperation, recognition and acceptance, recognition and appreciation, and other factors. Most normal people have the need to socialize, and from this there is social behavior between people, which reflects the requirements of labor and social life. [45] It is precisely under the continuous impetus of the motive of communication that each person completes a variety of social activities, and thus gradually becomes a social individual. [46] Lan Ying's status as a professional painter limited her to be accepted and recognized by the literati, she needed to participate extensively in interpersonal communication in social life in the late Ming and early Qing dynasties, so as to make up for the shortcomings of poor knowledge and lack of learning. It can be said that this kind of social communication activity, that is, the motivation of communication, is the internal driving force that promotes Lan Ying's continuous antique behavior in the middle and late stages, and it determines the strategies and methods adopted by Lan Ying to obtain identity transformation and literati recognition.
Judging from Lan Ying's changes in the use of names in his landscape paintings in the middle and late periods, the title of the donor and the specific friendship activities, it seems that he did make efforts for his inner "needs": first, his early landscape paintings often inscribed "Qiantang Lan Ying" or "West Lake Foreigners" to indicate the environment in which he lived, while in the middle and late stage of his works, there were new changes, such as "Imitation of Li Tang Landscape Map" in the fourth year of Chongzhen (1631) and "Spring Haze in Taoyuan" in the third year of Shunzhi (1646) and other works, the inscription "West Lake Foreign Official" or "West Lake Foreign Official Lan Ying" aliases frequently appear. According to the title "foreign official" was a common nickname used by literati in the old days[47], it can be inferred that although Lan Ying failed in the scientific examination and took the initiative to become a professional painter by painting, she still considered herself to have a certain degree of literati knowledge and cultivation like literati. Using "foreign officials" to identify themselves is also a member of the literati ranks. Secondly, it can be seen from the objects of Lan Ying's gift of paintings that he also had a friendly relationship with celebrities or officials in the DPRK at that time. For example, in the third year of Shunzhi's "Taoyuan Spring Haze Picture", the inscription "Bingxu Xia Zhong painted like Yi Weng's husband Zu Xuancan", and the eighth inscription of the picture of "Chengguan Atlas" reads "Yanmin Lan Ying painted like Jie Weng Zhao's husband Zushuangtai Xuancan" and so on. According to these honorifics, it can be seen that Lan Ying's contacts were basically some literati officials in the court, and these people played an important role in the dissemination of Lan Ying's painting reputation and the promotion of social status. Finally, Lan Ying also participated in the exchange of calligraphy and painting among the literati, such as the 16th year of Shunzhi in the Qing Dynasty (1659) in collaboration with the literati painter Xu Tai in "Bathing in the Inkstone". Similarly, there are also other paintings and calligraphy works painted in the literati's residences, such as the sixteenth year of Shunzhi in the Qing Dynasty, in the late Ming and early Qing Dynasty relict literati Li Qing's degraded residence "Liqiu Hall" to draw the sixth picture of the "Chengguan Atlas". When Lan Ying was still in Yangzhou, she also interacted with Kong Shangren, a literary scholar who was ordered to control the water, and was also written into "Peach Blossom Fan" after Lan Ying wrote the ancient world. [49] From the above examples, it can be seen that Lan Ying's social activities in the middle and late stages were extensive and diverse. He not only interacted with the remnants of literati, fellow painters, cultural celebrities, officials in the DPRK and other people, but also strengthened friendly relations with them through calligraphy and painting cooperation or painting gifts. This may be the manifestation of Lan Ying's behavior under the domination of social motives, through extensive participation and social activities to get close to the literati group, and establish close relationships with them, so as to gain further acceptance and recognition of the literati, so as to achieve the transformation of their identity attributes.
Lan Ying's antique behavior in the middle and late stages is a specific manifestation under the domination of communication motives, which is caused by specific needs and is a special psychological state and willingness to satisfy various needs in the heart. It is generally considered in psychology to involve the initiation, discovery, intensity, and persistence of an individual's behavior. Lan Ying's antique behavior is the embodiment of the "interaction" demand relationship between him and the external literati environment. Although, Lan Ying was also called the leader of the "martial arts school" for the first time in the history of painting, which means that she has been recognized by a certain range of literati. However, on the whole, due to Lan Ying's status as a professional painter, this recognition is not universal, and Zhu Mouyuan of the Ming Dynasty recognized this and thought: "Lan Ying ...... It is a pity that his painting is self-sufficient, and it is inevitably taken lightly by the world. [50] Zhang Geng, a historian of painting in the early Qing Dynasty, still compared Lan Ying with the Zhejiang School, and believed that when the Zhejiang School developed to Lan Ying in the late Ming Dynasty, its painting style had reached the extreme, saying: "...... There is a Zhejiang school of painting, starting from Dai Jin, to the blue is the extreme, so the person who knows is not expensive. [51] These may be what Lan Ying lacks in her heart, and it is also the result of her unwillingness to see it. Therefore, even in the middle and late stages, Lan Ying's landscape painting style has long been detached from the "plain and naïve" and "ink and wash" style of "Nanzong" literati painting, and he still believes that his landscape painting style of "mountains and rocks and majestic weather" is inherited from the "Nanzong" painting style, which affects his enjoyment of antique behavior in the middle and late stages. This motive prompted Lan Ying to use the clear words "imitation" and "law" to remind and indicate to the world the object and source of her works. It reflects the interaction and demand relationship between Lan Ying's inner needs and the literati's attitude towards professional painters, reflects the literati's admiration and recognition of literati painters in the late Ming and early Qing dynasties, accompanied by the denigration and denigration of professional painters, and also reflects Lan Ying's inner spiritual need to be accepted and recognized by literati. Psychological research shows that motivation is the result of the joint action of internal and external conditions, and the internal conditions that cause motivation are human needs, and motivation arises on the basis of needs. According to this point of view, it can be considered that Lan Ying's spiritual needs are the motivation for the continuous occurrence and development of Lan Ying's antique behavior in the middle and late stages. As Shao Yan pointed out, perhaps Lan Ying really had a strong inferiority complex and conceit in his heart, and in order to show that his paintings belonged to the same vein as the literati, he wanted to label all his creations to show that this was indeed the literati painting method of the Southern Sect. [52] Perhaps, in Lan Ying's view, the best way to resolve this embarrassing situation is to use the clear attitude of writing "imitation" and "law" as a sign of her mentality and desire to actively move closer to the literati painters, aiming to gain the acceptance and recognition of the literati, so as to satisfy Lan Ying's spiritual need for a sense of belonging to the literati.
Fourth, the antique essence of Lan Ying: the practice of innovation in inheritance
Lang Shaojun divides the innovation and evolution of Chinese painting into three types: "traditional", "pan-traditional" and "non-traditional". [53] He believes: "In my opinion, without mastering certain brush and ink skills through copying, it is difficult to make a decent breakthrough in 'traditional' and 'pan-traditional' Chinese painting. [54] This shows that the study of traditional Chinese painting is an inheritance and innovative artistic activity based on the study of previous painters. By exploring the performance of Lan Ying's landscape paintings, it is found that his antique behavior is a kind of innovative practice in inheritance.
Lan Ying mainly took Song and Yuan painters as her main objects, and pursued the Jin and Tang dynasties. Such as Wang Wei, Dong Yuan, Juran, Jing Hao, Guan Tong, Li Cheng, Li Tang, Fan Kuan, Guo Xi, Ma Yuan, Mi Fu, Gao Kegong, Zhao Mengfu, Wu Zhen, Dong Qichang and others. This group of painters includes both professional painters and literati painters, which shows that Lan Ying dabbled in the complexity and breadth of his studies with the ancients, and this diversified choice enabled him to absorb a variety of artistic languages and be imperceptibly influenced by them, so that Lan Ying's painting expression skills and aesthetic taste could be generated. For example, in terms of the learning, transformation and innovation of artistic language, Lan Ying continuously strengthened the lotus leaves used in Hua Buzhu Mountain in Zhao Mengfu's "Autumn Color Picture of Quehua" in the Yuan Dynasty to form her own lotus leaf tree, refined and transformed the hemp leaf in Huang Gongwang's "Fuchun Mountain Residence Map" to form her own chaotic firewood, and borrowed Dong Qichang's literati brush and ink to develop the expression technique of ink color moisturization. For another example, Lan Ying's boneless green landscape painting "Danfeng Mangrove Picture", "Imitation Zhang Seng Xiang Qingshan Mangrove Picture", "Imitation Zhang Seng Xiang Landscape Picture", "White Cloud Mangrove Picture" and other works, although influenced by Dong Qichang's "Imitation Yang Sheng Boneless Landscape Map" uses boneless color, but the final effect presented is completely colorful and colorful picture effect, with its own unique painting style. Some researchers also pointed out that Lan Ying's boneless painting style: "It may be understood that Lan Ying should deliberately develop her own special painting system, so there is such a statement." In fact, Lan Ying has indeed developed a 'boneless landscape' painting style that is different from Dong Qichang's. [55] It can be seen that based on the works of her predecessors, Lan Ying learned and mastered the brush and ink programs and chapter layouts of her predecessors through inheriting and innovating practical activities, so as to develop her own unique artistic language and expression skills, and became the leader of the "Wulin School", which had a certain influence in the painting world in the late Ming and early Qing dynasties.
Lan Ying often took the landscape painting of the northern and southern sects as the object of her teaching, not only learning the brush and ink language of her predecessors, but also being influenced by their thoughts. When Lan Ying was learning from her predecessors, she was able to exert her subjective initiative to learn from and transform the works of her predecessors to a certain extent, not only based on her predecessors, but also breaking through her predecessors, and finally formed the following characteristics of landscape painting, that is, she had both the skillful brushwork skills of professional painters and the relaxed feelings of literati painters, and the professional painters' accurate grasp of the requirements of common appreciation of elegance and vulgarity in the calligraphy and painting market, as well as her own understanding of artistic expression and the pursuit of self-painting. Therefore, although Lan Ying's landscape paintings are often inscribed with "imitation of a certain family" and "law of a certain family", its essence is to realize the process of self-innovation with the behavior of "imitation". Yang Huidong believes: "Lan Ying and the ancients are no longer a simple relationship between presence and imitation, but according to their own understanding and aesthetic orientation, they are interpreting and elaborating the ancients at a deeper level, which is 'I note the Six Classics' and 'the Six Classics note me'." [56] Similarly, Hu Guanghua also believes that although Lan Ying has "self-knowledge of 'imitation', 'law', 'teacher' and so-and-so ancients, as long as he pays close attention to observation, he can find his transcendent spirit of borrowing from the past to open up the present and not being bound by the law", and "although the inscription is an imitation of a certain family, it is actually his own unique style of vigor and majesty." 〔57〕
Lan Ying's antique behavior is an innovative artistic practice in inheritance, and it is "an artistic evolution method and strategy with retro as innovation" [58]. This kind of antique behavior is the result of the interaction between artistic self-discipline and otherness. That is to say, Lan Ying was influenced by the retro trend of thought in the late Ming Dynasty, and while learning from her predecessors, she pioneered and gave her own landscape painting expression a "new" vitality. Therefore, in his landscape paintings, there are often such pictorial contents as strange peaks and clouds, ancient trees, smoke and mist, waterfalls and flowing springs, thatched huts and water pavilions, and Gao Shiqingyan, so that the majestic and vigorous landscape paintings are not only desirable and feasible, but also habitable and swimmable, reflecting the most essential characteristics of natural mountains and rivers.
conclusion
To sum up, through the exploration of the above problems, Lan Ying's antique expression in landscape painting works is a partial fusion of various brush and ink techniques and some elements, but the overall appearance is mainly godlike. Lan Ying's antiquity has different social needs and ideological motivations at different stages. In the early stage, it was based on the need for security and the psychological need to pursue success and reputation in painting, while in the middle and late periods, it was based on the need for belonging and love, and under the domination of the motive of communication, it sought a sense of belonging and longed to be accepted and recognized by the literati. However, from the perspective of artistic occurrence, development and innovation, the essence of such expression and purpose is the artistic practice of Lan Ying's predecessors who developed and innovated in the process of inheritance. Only by clarifying these questions of Lan Ying can we provide an epistemological guidance and role for further research on Lan Ying's status and artistic value in art history. (This paper is the phased achievement of the doctoral research start-up project of Longnan Normal College)
Exegesis:
[1] Levinson, translated by Bao Weimin, "Hobby Ideals in the Ming Dynasty and Early Qing Dynasty Society as Seen from Painting", in Hong Zaixin, Selected Essays on Overseas Chinese Painting Research 1950-1987, Shanghai People's Fine Arts Publishing House, 1992, p. 300.
[2] [Beauty] Gao Juhan, translated by Wang Jiaji, Beyond the Mountains: Painting of the Late Ming Dynasty, 1570-1644, Life, Reading, and New Knowledge, 2009, p. 236.
[3] Lin Mu, New Wave of Literati Painting in the Ming and Qing Dynasties, Shanghai People's Fine Arts Publishing House, 1991, p. 358.
[4] Niu Kecheng, ed., Chinese Painting with Color: The Unfolding of Chinese Painting Styles and Style History, Hunan Fine Arts Publishing House, 2002, p. 299.
[5] Gao Juhan, translated by Li Peihua et al., Momentum: Nature and Style in Seventeenth-Century Chinese Painting, Life, Reading, New Knowledge, Joint Books, 2009, p. 114.
[6] Lang Shaojun, Guarding and Expanding: A Discussion on Chinese Painting in the 20th Century, China Academy of Art Press, 2001, p. 272.
[7] [A.S.] Gao Juhan, translated by Fan Jingzhong, "Style as a Concept of Ming and Qing Painting", New Art, No. 1, 1990.
[8] [Han] Xu Shen, [Song] Xu Xuan edited Shuowen Jie Zi, Zhonghua Book Company, 2013 edition, p. 161.
[9] Kangxi Dictionary (巳集) (I) "Water Ministry", p. 1472.
[10] "The Great Dictionary of China" (巳集) "Water Department", p. 977.
[11] "The Great Dictionary of China" (巳集) "Water Department", p. 978.
[12] According to the above interpretation of the meanings of "imitation" and "law", it can be seen that "imitation" and "law" belong to the same semantics. For the sake of discussion, this section refers to "imitation" and "law" as "imitation". In the subsequent content, in order to highlight the difference in the words used in Lan Ying's antique landscape paintings, the words "imitation" and "law" were written separately again.
[13] [Qing] Gu Wenbin, [Republic of China] Gu Linshi, "The Continuation of Calligraphy and Painting in the Cloud Building", Jiangsu Ancient Books Publishing House, 1999 edition, p. 66.
[14] Ding Xiyuan, "The "Imitation" and "Modern" Consciousness of the "Four Kings", Research Papers of the Four Kings School of Painting in the Early Qing Dynasty, Shanghai Painting and Calligraphy Publishing House, 1993. Quoted from Guo Jianping, "On the "Imitation Complex" in the History of Ancient Chinese Painting and Calligraphy: Taking Wang Yuanqi's Works as an Example", Journal of Xuzhou Normal University (Philosophy and Social Science Edition), No. 4, 2010.
[15] The limitation of the time range of Lan Ying's works is mainly based on the division of the development stages of Lan Ying's landscape painting art in the author's doctoral dissertation. This issue will not be repeated below.
[16] Feng Qian, "The Appreciation and Appreciation of Lan Ying's Boneless Green Landscape", Oriental Collection, No. 15, 2019.
[17] [Ming] Feng Xianxiang, ed., Yu Anlan, "The Continuation of the Illustrated Treasure Book", Volume 2, Painting History Series (Volume 2), Shanghai People's Fine Arts Publishing House, 1963, p. 14.
[18] The part painted by Lan Ying in the "Zhu Zhu Picture Scroll" does not have the inscription "Imitation of a certain family", but the technique of expressing the stone moss dots from the close-up is consistent with the dotted moss technique in Lan Ying's imitation of Wu Zhen's fisherman's work in the late period, so the author believes that this picture is also based on Wu Zhen as the object of the teacher's method.
[19] "Chu Mountain Qingxiao Map" Lan Ying inscribed "Imitation Mi Lao Chu Mountain Qingxiao Map" and "Antique Landscape Album of Minan Palace Chu Mountain Qingxiao Map" Lan Ying inscribed "Minan Palace Chu Mountain Qingxiao, Lan Ying intends to be in Ziweng Laozutai". Zhejiang Provincial Museum, edited by Wang Xiaohong, "Strange Peaks on the Lake: Catalogue of Lan Ying's Works and the Influence of Her Teacher", Zhejiang People's Fine Arts Publishing House, 2017, pp. 36-38.
[20] "Autumn Colors of Streams and Mountains" Lan Ying inscribed "Autumn Colors of Pine and Snow Streams and Mountains in the New Autumn, and Idiot Brushwork". Zhejiang Provincial Museum, edited by Wang Xiaohong, Strange Peaks on the Lake: Catalogue of Lan Ying's Works and the Influence of Her Teacher, pp. 22-23.
[21] Zhejiang Provincial Museum, edited by Wang Xiaohong, Strange Peaks on the Lake: Catalogue of Lan Ying's Works and the Influence of Her Teacher's Inheritance, pp. 22-23.
[22] This picture is written as "Imitation of Minan Palace Chushan Spring Dawn Map" in Wang Xiaohong's "Strange Peaks on the Lake: Lan Ying's Works and the Influence of Teachers Special Exhibition Catalogue", according to Lan Ying's specific content in this picture, it can be seen that "Xiao" is written as the word "spring", which may be a typographical error, and it should be "Imitation Minan Palace Chushan Qingxiao Map". Zhejiang Provincial Museum, edited by Wang Xiaohong, "Strange Peaks on the Lake: Catalogue of Lan Ying's Works and the Influence of Her Teacher", p. 36.
[23] Ibid. [21], pp. 30-31.
[24] Ibid. [21], p. 86.
[25] Ibid. [21], p. 60.
[26] Ibid. [21], p. 64.
[27] Ibid. [17].
[28] Quoted from Yan Juanying, "Lan Ying and Antique Painting", National Palace Museum, Taipei, 1980, p. 7.
[29] For details, see Ma Shaowan, "Lan Ying's Identity and Cognition in the History of Painting: An Analysis of the Changes in the Status of Lan Ying's Painting History", master's thesis of Tianjin Academy of Fine Arts, 2015, pp. 11-12.
[30] [Qing] Ji Zengyun, Shen Yiji, et al., eds., (Yongzheng) Zhejiang Tongzhi, [Qing] Ji Yun, Yongying, et al., eds., Jingyin Wenyuange Siku Quanshu: 524, Taiwan Commercial Press, Co., Ltd., 2008, p. 348.
[31] (Biography) [Ming] Lan Ying, [Qing] Xie Bin, ed., "The Continuation of the Illustrated Treasure Book", edited by Yu Anlan, Painting History Series (II), Taiwan Literature, History and Philosophy Publishing House, 1994, p. 874.
[32] Liang Ningjian, ed., Basic Psychology, Higher Education Press, 2022, p. 283.
[33] Ibid., pp. 292-293.
[34] Ibid., p. 283.
[35] Ibid., pp. 284-285.
[36] [Qing] Shen Zongqian, Li Anyuan and Liu Qiulan's annotations, "Mustard Boat Painting" (Volume 1), Shandong Pictorial Publishing House, 2013, p. 5.
[37] Ibid. [30].
[38] Ibid. [32], p. 294.
[39] [Ming] Dong Qichang, Essays on Painting the Zen Room (Vol. 2), Taiwan Commercial Press, 1983, p. 817.
[40] Ibid. [32], p. 286.
[41] Ibid. [32], p. 286.
[42] Ibid. [32], p. 286.
[43] [Qing] Zhang Geng, "Pushan on Painting: General Theory", edited by Yu Anlan, Painting Theory Series (Volume I), People's Fine Arts Publishing House, 1960, p. 269.
[44] [Ming] Dong Qichang, "Painting Purpose", Wang Bomin and Ren Daobin, eds., Painting Integration (Ming-Qing Dynasty), Hebei Fine Arts Publishing House, 2002, p. 217.
[45] Ibid. [32], p. 298.
[46] Ibid. [32], p. 288.
[47] Ci Hai, 1999 miniature edition (Sequence 4), p. 2161.
[48] [Ming] Wu Meicun's Book "Codex", Calligraphy, No. 12, 2015.
[49] Chen Shizeng, Zheng Chang, Zong Baihua, "Talks on the Masters of Chinese Painting and Calligraphy", Anhui People's Publishing House, 2013, p. 742.
[50] [Ming] Zhu Mouyuan, "Painting History Huiyao", [Qing] Ji Yun and Yongying, eds., Jingyin Wenyuan Pavilion Siku Quanshu, Taiwan Commercial Press, 2008, p. 5.
[51] [Qing] "Records of the Painting of the National Dynasty" (Volume I), Yu Anlan, ed., The History of Painting Series, Volume 3, Shanghai People's Fine Arts Publishing House, 1963, p. 12.
[52] Shao Yan, "Mountains and Rivers for the Present: The Story of the Lan Ying Family", Palace Publishing House, 2017, p. 86.
[53] Lang Shaojun believes that the innovation and evolution of Chinese painting can be divided into three categories: "traditional", "pan-traditional" and "non-traditional". Among them, the innovation of "traditional" "basically continues the norms of traditional Chinese painting, and insists on using brush and ink as the main language (including material tools and the basic methods and techniques for the use of material tools)." There is no question of modern transformation in the traditional type, because it is not modern art in nature, but classical art...... Traditional Chinese painting should maintain its traditional norms and forms, otherwise it will lose its own characteristics and values." The innovation of the "pan-traditional type", "this type absorbs the elements of Western painting, but also adheres to many traditional things, and retains the basic elements of traditional Chinese painting to varying degrees." However, it is not a typical traditional type, so it is called a 'pan-traditional type'. Most of the 'new Chinese paintings' from the 20s to the 70s can be classified as this type." "Non-traditional" innovations, "in terms of painting language and painting style, are profoundly different from traditional Chinese painting, but they retain or partially retain the medium of traditional Chinese painting, especially the ink material." In recent decades, most of the 'modern ink' and 'experimental ink' that have emerged at home and abroad with abstract forms as their main feature belong to this type. The painters who create such works are determined to distance themselves from traditional painting, and to absorb more and more boldly the concepts and methods of modern Western painting, and in some works, even ink materials." Lang Shaojun also believes that these three types of painting cannot be judged by their own standards, but "there is a connection between them, and they all have a root, which is the Chinese artistic tradition." Lang Shaojun, Guarding and Expanding: A Discussion of Chinese Painting in the 20th Century, pp. 272-273.
[54] Lang Shaojun, Guarding and Expanding: A Discussion on Chinese Painting in the 20th Century, p. 281.
[55] Wang Suliu, "Spring Forest Red Light Green Sunny Soft - Ming Lanying's "Boneless Landscape" Research", Rong Bao Zhai, No. 9, 2017.
[56] Yang Huidong, "Lan Ying", Hebei Education Press, 2006, p. 72.
[57] Hu Guanghua, "Lan Ying and the Landscape Painting of the Wulin School", Chinese Painting and Calligraphy, No. 8, 2006.
[58] Lang Shaojun, Guarding and Expanding: A Discussion on Chinese Painting in the 20th Century, p. 271.
Guan Yun is an associate professor at Longnan Normal College
(This article was originally published in Art Observation, Issue 3, 2024)