The paintings of literati of past generations have had a considerable influence on the aesthetic ideas of Chinese painting and on the development of techniques such as ink painting and freehand painting.
Juran Wanyuan Pine Wind Diagram Silk Ink Pen Shanghai Museum Collection
The origin of literati painting can be traced back to the Han Dynasty, and Zhang Heng and Cai Yong both have painting names. Although the paintings are not handed down, they are recorded in the classics. Before the Song Dynasty, Chinese painting had been significantly developed, and there were flower and bird paintings of "Three Landscapes" and "Xu Huang Body".
Xu Xi's "Snow Bamboo Diagram"
Huang Xiao 《Sketching Rare Birds》
【Song】
The Song Dynasty established the Royal Academy of Painting. Su Shi was the first to comprehensively expound the theory of literati painting, which played a decisive role in the formation of the literati painting system.
Su Shi Dead Wood Bamboo Stone Picture Scroll Paper Ink 26.5×50.5 cm Japanese Private Collection
From the perspective of painting practice, Su Shi's "Dead Wood Strange Stone Diagram" can see his aesthetic practice, and Wentong's ink bamboo diagram and Su Shi jointly created the literati painting theme of "dead wood bamboo stone".
Su Shi's "Xiaoxiang Bamboo Stone Diagram"
Mi Fu Chun Shan Rui Song Tu 35× 44.1 cm National Palace Museum, Taipei
Mi Fu Yunqi Building Diagram Freer Museum of Art, USA
Song Mi Fu Cui Micro Deep Map
【Yuan】
In the practice of painting in the Yuan Dynasty, the scholar painters represented by Zhao Mengfu and Gao Kegong in the early Yuan Dynasty advocated retro, returned to the traditions of the Tang and Northern Song Dynasties, and advocated calligraphy into painting, so they opened up heavy rhymes, light lattice laws, and paid attention to the subjective lyrical yuan painting atmosphere. For example, Zhao Mengfu's "Dongting Dongshan Map", "Wu Xing Qingyuan Map", "Quehua Autumn Color Map" and so on.
Zhao Mengfu Quehua Autumn Color Drawing Color on Paper 28.4×93.2 cm Collection of the National Palace Museum, Taipei
Zhao Mengfu Dongting Dongshan map
In the middle and late Yuan Dynasty, huang gongwang, Wang Meng, Ni Zhan, Wu Zhensijia and Zhu Derun and other painters carried forward the style of literati painting, with the aim of sending freehand paintings to Xing Tuozhi, promoting the development of the painting world, reflecting the reclusive landscape of passive escapism, and mei, orchid, bamboo, chrysanthemum, pine, stone and other themes that symbolized the personality spirit of Qing Gao and Jianzhen, which were widely popular.
Yuan Huang Gongwang Danya Yushu Tu Collection of the Palace Museum
Yuan Huang Gongwang Tianchi Stone Wall Diagram Collection of the Palace Museum
Yuan Wang Meng Chunshan Reading Chart Axis Length 132.4 cm Width 55.5 cm Shanghai Museum Collection
Wang Meng Ge Zhichuan moved to the palace museum collection
Yuan Ni Zhan Yuzhuang Qiu Ji figure axis length 96.1 cm width 46.1 cm Shanghai Museum collection
Yuan Ni Zhan 《虞山林壑圖》
Yuan Wuzhen Fisherman Father Figure Silk Ink Pen 84.7× 29.7cm Beijing Palace Museum
Wuzhen Xishan high hidden map
【Ming】
In the early years of the Ming Dynasty, painters were divided into two schools, one was the retro school, that is, Dai Jin, Wu Wei and others who inherited the tradition of landscape painting in the Southern Song Dynasty's "Maxia" courtyard in the imperial painting academy revived in the early Ming Dynasty.
Ming Dai Jin's "Poetic Intention of Xitang"
The other school is the Ming Dynasty literati painting represented by the "Wumen Sect", which swept away the "courtyard body" painting of the "restoration" and pushed the literati ink painting style laid down by the Yuan people to a higher stage, and its main characters were Shen Zhou, Wen Zhengming, Tang Yin and Qiu Ying. In the late Ming Dynasty, Dong Qichang came out and expanded the new realm of literati landscape painting.
Ming Shen Zhou Dongzhuang Album
Wen Zhengming Qiu Jiang Farewell Diagram Vertical Axis
Tang Yin,"The Lone Bird of The Falling Sun"
Qiu Ying Landscape
【Qing】
In the Qing Dynasty, when literati painting was at its peak, many top literati painters emerged, the most prominent of which was the "Four Monks", and among the "Four Monks", the Eight Mountain People and Shi Tao were the most prominent.
Eight "Lone Bird Diagrams"
Eight hibiscus
Eight grapes
Eight big lotus birds
Shi Tao Ancient wood hanging in the shade
Shi Tao The creek bank is secluded
Shi Tao Creek Bridge Wild Color
Shi Tao Nanshan is Shou
Hirohito The mountain is silent
Hirohito Matsuiwa releases the boat
Hongren Landscape Vertical Axis Ink on Paper
Hirohito Landscape
Qing Jie Remnant (Stony Brook) Character Picture Page
Qing Ruins Pine Rock Pavilion Map
Qing Qi remnants Autumn Sun Meng fishing rocks
Qing Jie Remnant Association Lin Quan Tu
(Contemporary Art)