![]() ![]() ![]() These gatherings were frequently commemorated in paintings that, rather than presenting a realistic depiction of an actual place, conveyed the shared cultural ideals of a reclusive world through a symbolic shorthand in which a villa might be represented by a humble thatched hut. Under the Mongol Yuan dynasty (1271–1368), when many educated Chinese were barred from government service, the model of the Song literati retreat evolved into a full-blown alternative culture as this disenfranchised elite transformed their estates into sites for literary gatherings and other cultural pursuits. This style was carried further by his son, Mi Youren (米友仁). Mi Fu basically abandoned the drawn line, forming his mountains with rows of blobs of wet ink laid on the paper with the flat of the brush-a technique probably derived from Dong Yuan’s impressionism and highly evocative of the misty southern landscape that Mi Fu knew so well. One of the most remarkable of these men was Mi Fu (米芾), a critic, connoisseur, and eccentric. The work of these early scholar-painters was original, not because they strove for originality but because their art was the sincere and spontaneous expression of an original personality. This became the fundamental principle of literati painting (文人畫). To Su Shi and his circle, the aim of a landscape painter was not to evoke in viewers the feelings they would have if they were actually wandering in the mountains, but rather to reveal to friends something of the artist’s own mind and heart. Su Shi formally theorized the revolutionary idea that the purpose of painting was not representation but expression. In the south, Dong Yuan (董源) and Juran (巨然) painted the rolling hills and rivers of their native countryside in peaceful scenes done with softer, rubbed brushwork.Īlso in the Northern Song, the seeds of a different notion of the purposes of painting were taking root in the minds of a small circle of intellectuals led by the great poet Su Shi (蘇軾). mid 10th c.), Li Cheng (李成, 919–967), Fan Kuan (范寬) and Guo Xi (郭熙) painted pictures of towering mountains, using strong black lines, ink wash, and sharp, dotted brushstrokes to suggest rough stone. In the north, artists such as Jing Hao (荊浩, ca. The time from the Five Dynasties period (907–960) to the Northern Song period (960–1127) is known as the “Great age of Chinese landscape”. Faced with the failure of the human order, learned men sought permanence within the natural world, retreating into the mountains to find a sanctuary from the chaos of dynastic collapse. As the Tang dynasty disintegrated, the concept of withdrawal into the natural world became a major thematic focus of poets and painters. It must be noted that the naming is not based on geographical regions, but an analogy to the different schools of Chan Buddhism.īy the late Tang dynasty, landscape painting often embodied the universal longing of cultivated men to escape their quotidian world to commune with nature. These two schools were later (in the Ming dynasty) called the Northern School and Southern School respectively. The other, founded by the poet-painter Wang Wei (王維, 701–761), painted in ink monochrome and developed a more spontaneous technique called pomo (“broken ink”), using varying shades of ink washes. They often used mineral colors blue and green for decoration, so their genre of painting is known as blue-green landscape (青綠山水). early 8th c.), painted in a highly decorative and meticulous fashion, employing the precise line technique derived from earlier artists such as Gu Kaizhi (顧愷之, 348–409) and Zhan Ziqian (展子虔, ca. One, practiced by the court painter Li Sixun (李思訓, 653–718) and his son Li Zhaodao (李昭道, fl. According to later Chinese art critics and historians, two schools of landscape painting emerged during the Tang dynasty. But during the Tang dynasty these difficulties were mastered. By the beginning of the Tang dynasty (618–907), the tradition of landscape painting had advanced little, partly because of the ever-increasing demand for Buddhist icons and partly because artists were still struggling with the most elementary problems of space and depth. ![]()
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