History 沿革 ( yán gé ) Six dynasties ( 222-589 C.E./A.D.)

1. TraditionalChinesepainting传统中文绘画(chuángtǒngzhōngwénhuìhuà) by Tosi Marila (童丽那 TóngLìnà) History沿革 (yángé) • Sixdynasties (222-589 C.E./A.D.) • Tangdynasty (618-907) 唐代 (Tángdài) • Fivedynasties (907-960) • Songdynasty (960-1279) 宋代 (Sòngdài) • NorthernSong (960-1126) 北宋 (Běi Sòng) • SouthernSong (1127-1279) 南宋(NánSòng) • Yuan dynasty (1279-1368) 元朝 (Yuáncháo) • Ming dynasty (1368-1644) 明代 (Míngdài) • (early) Qingdynasty (1644-1911) 清代 (Qīng dài)

2. Sixdynasties (222-589 C.E./A.D.)Tangdynasty (618-907) 唐代 (Tángdài) Figure painting人士绘画 (rénshìhuìhuà) Mainartists: • GùKǎizhī (顧愷之, 顾恺之, ca. 344-406) Thiscelebratedpainterwrotethreebooksaboutpaintingtheory: On Painting, Introduction of FamousPaintings of Wei and JinDynasties, and PaintingYuntai Mountain. Hewrote, “In figure paintings the clothes and the appearances are notveryimportant. The eyes are the spirit and the decisive factor”. • WúDàozǐ (吳道子, ca. 680-759) He painted a wide variety of subjects, mostly large wall compositions of essentially Buddhist characters. He is especially noted for his imagination and the expressive vigor of his brush: vividly expressive lines of alternately thick and thin strokes, in distinct contrast to the more preciously colored and controlled delineations of the contemporary courtly style.

3. Sixdynasties (222-589 A.D.), Tangdynasty (618-907) 唐代 (Tángdài) Wise and Benevolent WomenbyGùKǎizhī. Wise and Benevolent Women survives in a 13th century copy dating to the Song Dynasty, and is today located in the Palace Museum in Beijing. It illustrates a group of the women described in the Han dynasty work 'Biographies of Exemplary Women‘列女传 (LienüZhuan) by the scholar Liu Xiang. The 5 meter long scroll is divided into 10 sections, with each section containing a short description. The LienüZhuan served as a standard Confucianist textbook for the moral education of women in traditional China for two millennia. Chapters: MatronlyModels, The Worthy and Enlightened, The Benevolent and Wise, The Chaste and Obedient, The Principled and Righteous, The AccomplishedSpeakers, DepravedFavorites, SupplementalBiographies.

4. Sixdynasties (222-589 A.D.), Tangdynasty (618-907) 唐代 (Tángdài) The Eighty-sevenImmortals八十仙人 (bāshíxiānrén) byWúDàozǐ This 292 cm long scroll shows87 Taoist immortals paying homage to the supreme deity.Now conserved in XuBeihongMuseum.

5. Fivedynasties (907-960) Landscapepainting江山绘画 (jiāngshān huì huà) Regionaldifferences: • JīngHào (荊浩, ca.880-940) spentmuch of his life as a farmer in the Taihang Mountains (太行山, Tàihángshān) of Shān xī (山西) province. Hefollowed the court painters of the Tangdynasty (618–907) in emphasizing the singulargrandeur of the landscape. His style is characterizedby the use of bold compositions and clear stressed lines, particularly effective in depicting precipitous mountains, contrasted with the softer and more atmospheric effects favoured by artists in southern China. • DǒngYuán (董源, ca 934 – ca 962), born in the Jiangxi Province, was a Chinese painter active in the Southern Tang Kingdom of the Five Dynasties and Ten Kingdoms Period. He is especially known for his landscape paintings and exemplified the elegant style which would become the standard for brush painting in China for the next nine centuries. He is one of the founder of Southern school of landscape painting. He used an unusual brush stroke technique, to give a strong sense of foliage to the trees, which contrasts with the rounded waves of stone that build up the mountains themselves. This gives the painting a more distinct middle ground, and makes the mountains have an aura and distance which gives them greater grandeur and personality.

6. Fivedynasties (907-960) Kuangmount匡庐山 Dongtian Mountain Hall 洞天山堂图 (Kuāng lú shān) byJīngHào(dòngtiānshāntángtú) by DǒngYuán

7. Fivedynasties (907-960) JīngHào荊浩 DǒngYuán董源

8. Songdynasty (960-1279) 宋代 (Sòngdài) SouthernSong (1127-1279) 南宋(NánSòng) FànKuān (范寬, ca. 990-1020), GuōXī (郭熙), and Lǐ Táng (李唐) are the mostfamouspaintersforthisperiod. Guidedby the taste of the emperors, painters at the court academyfocused on observing nature combinedwith "poeticsentiment“toreinforce the expression of both subject and artist. The focus on poeticsentiment led to the combination of painting, poetry, and calligraphy (the "Three Perfections") in the same work by the SouthernSong (1127-1279). FànKuān based the painting on the Daoist principle of becoming one with nature. The painting focuses on the big picture of nature and the world as a whole instead of the individual, who is overpowered by the magnitude and mystery of his natural surroundings. The painter rendered the outline of mountains and slopes with jagged strokes and filled them with brush dabs like raindrops, to highlight the monumental and eternal features of the mountains. The signature of FànKuān is on the right of the mule train, among the leaves, as a final touch showing the insignificance of humans (including himself) compared to Nature. TravelersAmong Mountains and StreamsbyFànKuān

9. Songdynasty (960-1279) 宋代 (Sòngdài) SouthernSong (1127-1279) 南宋(NánSòng) Below: Wind in Pines Among Myriad of Valleys by Lǐ Táng (李唐). National Palace Museum in Taipei. Above, right: EarlySpring (早春圖) byGuōXī (郭熙). National Palace Museum in Taipei.

10. NorthernSong (960-1126) 北宋 (Běi Sòng)Yuan dynasty (1279-1368) 元朝 (Yuáncháo) Scholars earlier in the Northern Song (960-1126) thought that painting as an art had to go beyond just the "appearance of forms" in order to express the ideas and cultivation of the artist. This became the foundation of the movement known as literati (scholar, wénrén, 文人) painting. The goal of literati painters in the Yuan dynasty was in part to revive the antiquity of the Tang and Northern Song as a starting point for personal expression, certainly with new and personal tunes, some of which gradually developed into important traditions of their own in the Ming and Qing dynasties. As in poetry and calligraphy, the focus on personal cultivation became an integral part of expression in painting. • Main artists were the so called “Four Great Masters of the Yuan”: • HuángGōngwàng (黃公望, 1269-1354), • WúZhèn (吴镇, 1280-1354), • NíZàn (倪瓚, 1301-1374), and • WángMéng (王蒙, 1308-1385). In his works NíZànmainly depicted the dark and iced scene of Lake Taihu (lying across Jiangsu and Zhejiang provinces) to create a melancholy, solitary atmosphere. WángMéng, who paid much attention to composition, was expert in portraying hermetic life.

11. NorthernSong (960-1126) 北宋 (Běi Sòng)Yuan dynasty (1279-1368) 元朝 (Yuáncháo) Below:SouthernIslet (南渚圖 nánzhǔtú) byNíZàn Above, right:ForestChamber Grotto at Ju’ou (Lake Tai) byWángMéng

12. Ming dynasty (1368-1644) 明代 (Míngdài) Differencesbetweenlocalschools: • The styles of "Wu School" artists led by ShěnZhōu (沈周) in the Suzhou area, for ex., were based on the cultivated approaches of scholar painting by the Four Great Masters of the Yuan, with more “individualist” and innovative approach to art. • The "ZheSchool" led byDàiJìn (戴進) consistedmostly of paintersfrom the Zhejiang and Fujianareas; alsoactive at court, theycreated a direct and liberatedmanner of monochromeinkpaintingbased on SouthernSongmodels. Below:Poet on a MountaintopbyShěnZhōu Right: Returning Late from a Spring Outing by DàiJìn

13. (early) Qingdynasty (1644-1911) 清代 (qīngdài) The mostimportantpainterswere the so called “FourWangs”: • WángShímǐn (王時敏, 1592-1680) • WángJiàn (王鉴, 1598-1677) • WángHuì (王翬, 1632-1717) • WángYuánqí (王原祁, 1642-1715) Holding the "Four Great Masters of the Yuan" in high esteem, they made great efforts to reproduce the quiet and true natural atmosphere created in the Yuan literati painting. Their style had been established as the orthodox school, so that the preferred (and accepted) way of painting by the authorities.The court also took an interest in Western painting techniques (brought by European missionaries) that involved volume and perspective, which became known to and used by some Chinese painters to create a fused style.

14. (early) Qingdynasty (1644-1911) 清代 (qīngdài) Path by the Streams in Autumn Forest by WángShímǐnPeachBlossom, Fishing Boat byWángHuì

15. (early) Qingdynasty (1644-1911) 清代 (qīngdài) • Outside the court, the major commercial city of Yangzhou in Jiangsu developed the trend toward individualism to become a center for "eccentric" yet professional painters, such as ZhèngXiè (郑燮, 1693-1765), whodepictedmostlybamboo, likehere: • Orchids, Bamboo and Rocks(particular).

16. (early) Qingdynasty (1644-1911) 清代 (qīngdài) • Individualism and eccentric manners also spread to Shanghai, where the styles of artists were also influenced by “non-orthodox" painting, which themselves became models for later artists. • RènYí (任頤, 1840-1896), WúChāngshuòbelow:Beautiful Moon (吳昌碩, 1844-1927) (赏月图 shǎngyuètú)Peonies and Daffodils

17. AfterQingdynasty (1644-1911) 清代 (qīngdài) • QíBáishí (齐白石, 1864-1957) famouscontemporaryartist, “the shrimppainter” (butnotonly…):

18. 谢谢 (xièxie)! Website referencesusedforthispresentation: www.chinaonlinemuseum.com/painting.php www.chinese.cn http://www.chinese.cn/treasure/en/article/2009-09/01/content_30326.htm http://www.chinese.cn/treasure/en/article/2009-08/30/content_23881.htm http://www.chinese.cn/treasure/en/article/2009-08/25/content_12630.htm http://www.chinese.cn/treasure/en/article/2009-08/30/content_23849.htm Museums: http://www.namoc.org/en/ - Běijīng http://www.npm.gov.tw/en/home.htm - Táiběi Online dictionary: http://www.xiaoma.info/index.php