What are the characteristics of Yuan Sijia's artistic style? What is the background of this artistic style and its influence on the development of mountains and rivers in later generations?

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in addition

"Yuan Sijia" is the collective name of the four representative painters of landscape painting in Yuan Dynasty. There are two main versions: one refers to Zhao Mengfu, Zhenwu, Huang Wang Gong and Wang Meng, as shown in the appendix of Yi Yan Yuan by Wang Shizhen in Ming Dynasty. Second, it refers to Huang, Wang Meng, Ni Zan and Zhenwu in Dong Qichang's Collection of Rong Tai Biezhi in Ming Dynasty. The second is popularity. There are also Zhao Mengfu, Gao, Huang, Zhenwu, Ni Zan and Wang Meng, collectively known as the "six-yuan family". Although the painting styles have their own characteristics, they were mainly developed on the basis of Ju Ran in the Eastern Yuan Dynasty and the Northern Song Dynasty. They were the mainstream of landscape painting in Yuan Dynasty, and had a great influence on Ming and Qing Dynasties.

affect

Yuan Sijia played a decisive role in landscape painting. All four of them are from Jiangsu and Zhejiang provinces, and they are good at ink and wash landscapes and painting on bamboo stones, which is a typical literati painting style. They lived in an era of social unrest at the end of Yuan Dynasty. Although everyone's social status and circumstances are different, their disappointments are similar, and they are all influenced by Zhao Mengfu in art. Through their exploration and efforts, the pen and ink skills of China's landscape paintings have reached a peak, which has a great influence on later paintings, especially the "Nanzong" school.

Edit this painting of Yuan Dynasty.

Landscape painting is the most prosperous painting in Yuan Dynasty. Its creative thinking, artistic pursuit and style all reflect the mainstream tendency of painting circles and have the most far-reaching influence on later generations. At the beginning of Yuan Dynasty, landscape painters were represented by Qian Xuan, Zhao Mengfu and Gao. They all made a serious exploration of traditional landscape painting and sought a new way through retro. The methods of choosing money are all good. Most of the works depict ancient hermits or hometown landscapes, and the pen is simple and the ink bamboo hand rolls.

The artistic conception is naive and refined, and he is good at painting green mountains and rivers. He studied from Li Sixun, Li Zhaodao and Zhao Boju in the Tang Dynasty and the Southern Song Dynasty and integrated the brushwork and charm of literati painting. He leads a boring life, and his attitude of "not seeking for the world, not scratching his heart with praise" also makes his paintings beautiful and elegant, uninteresting at any time and unique. High Gong Ke changed among Mi Fei, Dong Yuan and Li Cheng, and formed a unique style of muddy wood. He has high attainments, strong brushwork, rich business, and is good at landscapes and ink bamboo. At the beginning of Yuan Dynasty, it was driven by Zhao Mengfu and Qian Xuan. Zhao Mengfu, in particular, is good at drawing pommel horses, figures, landscapes, flowers and birds, and bamboo stones-ink and wash, meticulous brushwork and freehand brushwork. He is the most comprehensive and rare master and generalist. His paintings are still ancient, and he advocates learning from the Tang and Song Dynasties. He often boasts that he is "innocent of Tang people" and "crude in ancient times", which has a profound influence on many painters in later generations. In the middle and late Yuan Dynasty, Yuan Sijia developed China's landscape painting to a new stage with his own innovative style and concise and detached artistic techniques, namely "Eight Scenes of Jiahe".

Represented the mainstream of landscape painting development in this period. Figure painting in Yuan Dynasty was far less prosperous than landscape painting and flower-and-bird painting. Due to the sharp and complicated contradictions among nationalities, classes and society, most painters passively avoid the world and ignore life. Literati painters, in particular, mainly express their feelings with mountains and rivers, dead trees and bamboo stones, while ignoring the performance of personnel. Therefore, there are few figure paintings that directly reflect real life. With the popularization of religion, the figure paintings of Buddhism and Taoism have been improved to some extent. In terms of art, some painters borrowed from the pen and ink skills of literati painting and made some achievements. Liu Guandao studied under the Jin and Tang Dynasties and was a master in the early Yuan Dynasty. His brushwork was dignified and solid, and his characters were comfortable. He Cheng inherited the composition of the Southern Song Dynasty and opened the way for figure painting in the Yuan Dynasty. Learning from Li, his pen is smooth and vigorous, and his characters are lifelike. Line drawing is rendered in light ink, which breaks through the general line drawing program. Qian Xuan's figure paintings have been studied since the Jin and Tang Dynasties, and his costume patterns are mostly based on Gu Kaizhi's Four Wonders of Ancient Travel, which are steady and graceful in Gu Zhuo, forming a school of its own. Ren Renfa's pommel horse is like the Tang Dynasty, with exquisite and smooth brushwork and bright style.

It retains many traditions of the Tang Dynasty, but it also has its own style, which is as famous as Zhao Mengfu in the early Yuan Dynasty. Good at drawing characters in simple ways, learning from Li. His pen is smooth and elegant, and his image is real and lifelike. He is known as "the beauty lies in the present". Wang Yi is good at drawing portraits of people, with meticulous brushwork, accurate modeling and vivid expression, and his achievements are the most outstanding among portraitist in Yuan Dynasty. Yan Hui enjoys a high reputation in religious figure painting. His brushwork is rough and bold, which is slightly similar to Liang Kai's splash-ink method in the Southern Song Dynasty, showing a concave-convex effect when the ink is smudged.

Edit this paragraph, Zhenwu.

Zhenwu (1280- 1354), a native of Jiaxing, Zhejiang Province, is learned and aloof, living in seclusion in the countryside and selling divinatory symbols for a living in Hangzhou. Ju Ran, his painter, made good use of wet ink and gave full play to the characteristics of ink painting. You Xi drew a picture of a fisherman, showing the boundless weather. They are all famous mountains in the south of the Yangtze River. The ink is round and moist, and the brushwork is simple and solid. He likes to write free and easy cursive inscriptions and is known as the three wonders of poetry and painting. Zhenwu often wears hemp long clothes, and Ju Ran, a master of landscape, is innovative and good at making ink bamboo. His style of painting is gloomy. The works handed down from ancient times include "Xishan Map".

Eight scenic spots such as Jiahe and Shuixiang.

Edit this paragraph of Wang Meng.

Wang Meng (1308- 1385), a native of Huzhou, was born in the late Yuan Dynasty and early Ming Dynasty. He used to be the magistrate of Tai 'an in the early Ming Dynasty, and was later implicated in prison and died. He studied painting with his grandfather Zhao Mengfu, and when he grew up, he had many contacts with Huang and Ni Zan. He likes to paint with Jiao Mo's thirsty pen and tiny moss spots, and the picture is dense and full. His paintings are mostly secluded, with changeable brushstrokes and scenes, full composition, full paper, strong color contrast and simple brushwork. He is good at painting the lush scenery of Jiangnan trees, which is moist and colorful and has a long artistic conception. The representative works include The Seclusion Map of the Qing Dynasty, Summer Shan Jutu and The Seclusion Map of the Qing Dynasty.

Reading Pictures in Spring Mountain and so on.

Edit this paragraph, Huang.

Huang (1269- 1354), a native of Changshu, calls himself "a primary and middle school student in Songxuezhai". When I was young, I was a small official, and I was involved in prison because of other people's business. After he was released from prison, he changed his name to "Yifeng", became a Taoist priest and began to paint. After 50 years old, he lived in seclusion in Hangzhou and devoted himself to landscape painting. Pushed as the "crown of four outstanding figures in Yuan Dynasty", his landscape is "rich in mountains and lush in vegetation", and he is good at painting ink paintings and light crimson landscapes. Huang studied under his uncle Zhao Mengfu, and drew on the strengths of the philosophers in the Song Dynasty. In his later years, he "lay in a green heart and looked at the white clouds", went deep into nature to observe and understand, and formed his own "clear and solid spirit, light and full of bones". His masterpiece Fuchun Shan Jutu took seven years to complete, with a height of 33 cm and a horizontal length of 396.6 cm. Collect the essence of hundreds of miles on both sides of Fuchun River in his pen. The painter's combination of center and flank, sharp pen and bald pen, long and short dry pen, wet pen and hemp is really a masterpiece in landscape painting. And the simple brush strokes compared with ink painting, the first round of ink painting is distinctive and unique.

Edit this paragraph, Nizan

brief introduction

Ni Zan (130l- 1374), a native of Zizhen, also known as Xuan Ying, alias Jing Manmin, is a layman with a net name, and owns Zhuyangge, Canglang Manshi, Ququancuo and Haiyue Jushi. , once signed Donghai Ni Zan, Lazy Zan, and renamed Xi Xuan Lang. In the fifth year of Yuan Dade (130 1), Ni Zan was born in Meilituo Village, Wuxi City. Grandpa is a big landlord in his hometown, with rich family and rural areas. My father died a long time ago. Ni Zhaokui, the third brother and half-brother, was an elite figure in Taoism at that time. He once "announced the record of Changzhou Daolu" and "mentioned the Kaiyuan Palace in Hangzhou Daolu", "given the name as saying that the gods should worship the Taoist priest and give some advice to the host" and "specially given the name of a real person, which is pure white in metaphysical Chinese." Second brother (compatriot) Ni Ziying. In the Yuan Dynasty, Taoism had a high social status and enjoyed various privileges. There is no pain of labor and taxation, and there is no fatigue of officialdom. On the contrary, there is an extra way to make money. Ni Zan was raised by his eldest brother since childhood, and his life was extremely easy and carefree. Ni Zhaokui invited fellow countryman "real person" Wang Renfu as his mentor. Influenced and educated by such a family, Ni Zan developed his own unusual attitude towards life, lofty and detached, totally abstaining from politics, immersed in poetry and painting, which was quite different from the Confucian ideal of the world. So, at the end of my life. Ni Zan, a teenager, was well-off and well-off, but he didn't get into the habit of being a dude and clung to his study and cultivation. There is a three-story library "Qingbi Pavilion" at home, which contains more than a thousand volumes of classics, history books, books, Buddhist scriptures and Taoist books. Ni Zan reads and writes poems upstairs every day. In addition to studying classics carefully, he also dabbled in Buddhist and Taoist books. There are also famous calligraphy and paintings in the Miqing Museum, such as the Recommended Season Table written by Zhong You in the Three Kingdoms and the Haiyue Temple Map written by Mi Fei in the Song Dynasty. Ni Zan plays with these masterpieces every morning and evening, especially Dong Yuan's Xiaoxiang map, Li Cheng's Maolin Yaoyuan map and Hao Jing's Qiushan map, and devotes himself to copying and imitating their verve temperament. At the same time, he often goes out for sightseeing and draws casually when he sees valuable scenery and things. He carefully observed various phenomena in nature, carefully sketched, and often came back with a full picture. On the one hand, Ni Zan paid attention to the inheritance of traditional techniques, learned from others' strengths and studied hard, which laid a solid foundation for his later painting innovation.

all one's life

After five years in Thailand (1328), my eldest brother Ni Zhaokui died suddenly. Then, Shao's mother and teacher died one after another, and Ni Zan was very sad. He used to rely on the privileges enjoyed by his eldest brother, but later he lost everything. Ni Zan became an ordinary Confucian scholar, and his family economy became increasingly difficult. With a sad mood, he wrote his own poems and described in detail his painful environment at that time. The twenty years from three years (1330) to eleven years (135 1) of the Yuan calendar are the maturity of Ni Zan's painting creation. During this period, Ni Zan made a wide range of friends, most of whom were monks, Taoists, poets and painters. Most of his poems are also sung with such people. Zhang Boyu, his best friend, was a famous Taoist priest, and Ni Zan drew a picture of bamboo and stone for him. Huang was another famous painter whom he admired, and also a famous figure of Quanzhen Taoism at that time. He is 32 years older than him, because his Taoism is deep. In 65,438+00, Huang Zenghua painted a long scroll of more than 20 feet for Ni Zan, which is one of the representative works of yellow, pale and crimson landscapes. The title of the scroll is Zheng Zhi Wuzi (65,438+0348); Ni Zan was 48 years old. At this time, he began to believe in Taoism (Quanzhen religion) and developed a withdrawn and reclusive character, which is also reflected in his paintings, which show a desolate, simple, quiet and generous intention. During the 20 years from the 13th year of Yuan Dynasty (1353) to his death, Ni Zan roamed Taihu Lake. I traveled all over Jiangyin, Yixing, Changzhou, Wujiang, Huzhou, Jiaxing and Songjiang, entertaining myself with poems and paintings. This period is also the heyday of Ni Zan's painting. He carefully observed the beautiful scenery of Taihu Lake, understood its characteristics, concentrated, refined and summarized it, and created new composition forms and new pen and ink techniques, thus gradually forming a new artistic style. The work has distinctive personality, strange brushwork and simple painting. Close up, it is a vein of soil slope, with three or five trees planted next to it, and one or two huts and grass kiosks. The middle and upper parts are left blank to show that the lake waves are beautiful, the sky is clear and Wan Li, the distant mountains are quiet and serene, and the realm is far-reaching. This style is unprecedented. At this stage, Ni Zan created the Songlin Pavilion (1354), Qing Yu Chuji (1355), the grotesque figure (1360) and Shuting Yaosen figure (65438+). In the 23rd year of Yuan Dynasty (1363), on September 18th, his wife, Jiang, died, and Ni Zan was greatly hit. The eldest son died young, and the second son was unfilial. The more lonely he feels in life, the more depressed he is and at a loss. In the early Ming Dynasty, Zhu Yuanzhang once asked Ni Zan to go to Beijing for business, but he refused to go. In the fifth year of Hongwu in Ming Dynasty (1372), on May 27th, he wrote a poem entitled "Words are True", in which he said that he was unwilling to be an official. He only wrote the year of Jiazi in poems and books, and did not need the year of Hongwu's formation. In the seventh year of Hongwu in Ming Dynasty (1374), Ni Zan stayed in Zoujia, Changjing, Jiangyin. On the night of Mid-Autumn Festival, he was exhausted because of his bad temper, so he went to the famous doctor Xia ZZ's house of Qi You for medical treatment and stayed in the middle. Ni Zan was seriously ill and died in Xiafu on November 11th of the lunar calendar at the age of 74. His body was buried in Xili, Jiangyin, and later in the ancestral grave at the foot of Rongying Mountain in Wuxi.

Anecdotal anecdote

Ni Zan is lofty and aloof, pedantic and not worldly, and has never been an official in his life. The legacy of Yunlin, compiled in the Ming Dynasty, said that once he stayed a guest, he heard a cough at night, and the next morning he was ordered to search for sputum carefully. The servant can't find it. Suppose he vomits on the plane leaves outside the window, tell him to cut them off quickly and put them far away from home. There is another legend in Ni Zan: Zhang Shixin, the brother of Zhang Shicheng, the "King of Wu", once sent someone to ask him to paint with silk and gave him a lot of money. Ni Zan was furious and tore up the silk to refund the money. Unexpectedly, when I was boating in Taihu Lake one day, I met Zhang and was beaten. Ni Zan was speechless at that time. Someone asked him afterwards, and he replied, "It's vulgar to make trouble." Ni Zan once wrote a poem to describe his feelings: "Look down on vulgar things with white eyes, clear words and bow to English, be rich and full, and think about fame."

evaluate

Ni Zan's three poems, calligraphy and painting. Ni Zan's paintings created a generation of ink and wash landscape painting style, and he was also called "the Four Masters of Yuan Dynasty" with Huang, Zhenwu and Wang Meng. The painting style is simple, the style is naive and quiet, and it wins with indifference. Most of his works draw mountains and rivers around Taihu Lake, and the composition takes plain scenery. He is good at drawing dead trees and bamboo and stone huts, and the scenery is extremely simple. Most of his paintings are polished with dry pen, and the pen and ink are extremely simple. The so-called "intentional or unintentional, if it is light, if it is sparse", it has formed a desolate depression. Among the four schools in Yuan Dynasty, Ni Zan enjoyed a high reputation in the minds of literati. He Ming Liang Jun said: "Yunlin Shu Da ordered no dust." In the Ming Dynasty, Jiangnan people divided elegance and vulgarity according to whether they collected his paintings. His painting practice and theoretical viewpoints have influenced the painting circles in Ming and Qing dynasties for hundreds of years. So far, he has been rated as one of the "Top Ten Painters in Ancient China" and listed as a world cultural celebrity by the Encyclopedia Britannica. The landscapes painted by Ni Zan mainly show the scenery of Taihu Lake, with sloping trees nearby, distant mountains and a big lake in the middle. The artistic conception is quiet, desolate and desolate, without vulgar dust. His paintings rarely use color, and his brushwork is concise and clear, and less is better than more, which is deeply loved by painters in Ming and Qing Dynasties. Many people in later generations often describe painting as "imitating Yunlin's brushwork", which shows the great charm of his calligraphy and painting. Ni Zan is a painter with a unique personality. His calligraphy, as a master of wild rhyme, participated in Zen and learned Taoism and traveled all over the world. With the charm of ice and snow, he wrote his unique simple, simple and simple style. Wen Zhiming and Dong Qichang both spoke highly of his calligraphy. Wen Zhiming commented: "Mr. Ni's personality is noble, and his enthusiasm has the spirit of Jin and Song Dynasties." Dong Qichang commented: "Old innocence, Mi Chi (that is, Mi Fei) is only one person short." Compared with Ge Shoutie's calligraphy, Ni Zan's calligraphy is completely different in style, which inevitably leads to criticism. Ruxiangmu accused Ni Zan of being bitter and shabby when he wrote it. Even in the year of Lao Peng, there will be no good in the end. Li Ruiqing, a modern calligrapher, said, "Ni Yushu is cold and barren, without losing the momentum of Jin people, and there are disadvantages in the forest." For example, there is a profound understanding in the poem (Tao Yuanming), but it is not something that meat eaters can solve. Ni Zan's works handed down from generation to generation include Three Stamps, A Boat at the Beginning of the Month, A Poem Post in the Guest Hall, Chen Shi Juan, Poems with the Same Rate, Poems with the Same Style, Cautious Words in Two Bamboo Slips, Miscellaneous Poems Post, etc.

Edit this four paintings of the Yuan Dynasty.

Zhenwu's handed down works

Fisherman's Father's Map, Shuangshuyuan Plain Map, Qiu Jiang Fishing Hidden Map, Qiushan Map, Qingying Map, etc.

Wang Meng's masterpiece handed down from generation to generation

The seclusion in Qing dynasty and Chunshan's study in Shanghai museum: Ge Zhichuan's migration map is in the Palace Museum in Beijing; "Autumn Mountain Cottage Map" was collected by the National Palace Museum in Taipei.

Huang Chuanshi's works

Jiu Feng Snowfall Map Axis, Tianchi Cliff Map (Beijing Palace Museum), Map (Nanjing Museum), Fuchun Mausoleum Map (Nanjing Museum), Autumn Mountain Quiet Map (Shanghai Museum), Fuchun (Taipei Palace Museum) and Fuchun are Zhang.

Ni Zan's handed down works

Jiang 'an wangshan, bamboo trees and wild stones, Xishan Liuzi, Shuizhuju, Songting, Lion Forest Roll, Xilin Zen Room, Jinghansong, Qiulinshan Color Map, Spring Rain Crescent Map. There are water bamboo residence map, over-the-knee lent map, fishing village Qiu Ji map, mountain gull map, quiet stream cold pine map, beautiful trees in autumn pavilion, strange rocks and bamboo trees handed down from generation to generation.

Edit the books related to this paragraph.

Basic information

Title: Yuan Sijia Author: Yang Jianfeng Publishing House: Jiangxi Fine Arts Publishing House: April 2009-1ISBN: 9787807497387 Format: 16 Price: 78.00 yuan.

brief Introduction of the content

In the Yuan Dynasty, due to complex ethnic contradictions, a unique cultural background was created. Intellectuals of the Han nationality are discriminated against politically and suppressed ideologically, so many painters and literati live in seclusion and devote themselves to nature in order to seek the so-called orthodox spirit of "the unity of Brahma and Me". It is this detached life that makes them often get close to nature and get themes directly from nature, thus making their paintings more detached. Yuan Sijia was the most typical representative of literati painters at that time. His creative thinking, artistic pursuit and style all reflected the spiritual orientation of painting circles at that time. Yuan Sijia mainly refers to Huang, Wang Meng, Ni Zan and Zhenwu. Their painting styles evolved from the landscape paintings of Dong Yuan in the Five Dynasties and Ju Ran in the Northern Song Dynasty. They are deeply influenced by Zhao Mengfu, paying attention to pen and ink, advocating interest, and putting poetry into pictures. They are the mainstream of literati landscape paintings in Yuan Dynasty, and have great influence on landscape painters in Ming and Qing Dynasties and even today.