/kloc-After the 8th century, ukiyo-e painting was generally recognized by Edo citizens in the form of happy customized prints. The "Lin School" has always been only aimed at Dongmachi in Kyoto, so the lower classes in Kyoto turned to appreciate Ming and Qing paintings to get rid of the boredom of dynasty tradition, resist the extravagance and obscenity of ukiyo-e paintings, and satisfy the spirit of learning and enterprising.
Ukiyo-e painting in Japan
Immediately, the works that imitate Ming and Qing paintings have a refined and fresh side. It turns out that at the same time in China, the theory of Nanzong was overwhelming and ranked among the orthodox painters in the early Qing Dynasty. For the Japanese painting circle that thinks it is stagnant, it is still very important to catch up with the popularity of the civilized world. Even if it is only touched by a little edge, it will be proud of it.
In fact, the first-class paintings and first-class masters of Ming and Qing paintings have never been to Japan. Just minor figures and imported paintings and scores. However, the new air flow injected into China ink painting and the whirlwind of Japanese southern painting and Kyoto sketch school can be regarded as the overseas glory of Ming and Qing painting. In particular, the Kyoto Sketch School's love for the literati's thoughts of realistic courtyard style and southern painting in Ming and Qing Dynasties became the two peaks of Edo's later culture. It not only replaces the official Kanye school and the Lin school supported by the industrial and commercial circles, but also rivals the vulgar art Ukiyo-e painting. Even beyond the Meiji Restoration, the influence reached the infighting of official exhibition seats.
Cultural exchange under the system of confinement
1639, Guang Jia, the third generation general, issued a decree to lock the country. The ostensible reason is to ban Catholic life, but in fact it is to consolidate political power. The shogunate authorities took Nagasaki as the only gateway, and only allowed ships from the Netherlands and China to enter the port. Due to the isolation from the international community, the foreign relations of Edo culture are not completely isolated. Through the merchant ships in the Netherlands and China, there is no profiteering trade. On the contrary, it is convenient to carry the input knowledge and study, but it is not intended to be an incidental task and mission in navigation. Dutch ships introduced western books and the concepts of sketch and perspective; China Ship, because the shogunate carried out Confucian politics, brought a large number of related books and established the idea of literati painting in Japan.
The earliest message to the periphery of paintings in Ming and Qing Dynasties was Yi Ran Rong (160 1 1668) written by a Zen monk at the end of Ming Dynasty. 1644, he left Japan to avoid chaos and stayed in Nagasaki for 24 years, sowing the seeds of China literati painting. 1654, Zhang Zongwei urged Yuan Yin Qi Long, a monk of the Ming Dynasty (1592 1673), to go to Japan and built the wanfu temple in Huangbaishan, Kyoto. This humanistic environment, which belongs to the famous temples in China, satisfied the fantastic trip of Edo literati in China in time, and also promoted Japanese literati's admiration for paintings and calligraphy in Ming and Qing Dynasties.
Tibetan image (1592 1673)
Looking forward to the Ming and Qing albums, it is essential to have models to guide imitation. "Painting Spectrum" and "Painting Theory" are among a large number of imported Chinese books, which are introductory textbooks that directly provide the standard of writing and the background of famous artists. The greatest contributions in this respect are Ancient and Modern Book Spectrum (one of eight kinds of painting spectrum) and Biography of Mustard Seed Garden. The former had a "harmonious woodcut" in 1672, while the latter was a woodcut imitated by almost all Japanese painters since 1748. Imported paintings were obviously in short supply, and at first there were a large number of engravings, which were widely circulated. This is an indispensable medium for the Japanese to learn China Nanzong painting from their pure yearning for Ming and Qing painting.
Ancient Edition of Biography of Mustard Seed Orchard
/kloc-The calligrapher of the Qing Dynasty who landed in Nagasaki after the 0/8th century, whether an amateur or a well-known person, is bound to be swarmed by arty Japanese as long as he can play two strokes, which is regarded as a good opportunity for him to observe with real skills. Therefore, Yi Fujiu, Shen Nanping, Fei Hanyuan, Song, Zhang Qiugu, Jiang Jiapu and other people whose real names are unknown in China frequently go to Nagasaki, which has a great influence on Japanese painting circles. Under the diversified development of Edo art in different stages, the literati and Confucian scholars finally found their favorite painting world by drawing new heterogeneity from the clean stream of Ming and Qing painting schools.
The Art of Intellectuals
The policy of worshipping Confucianism of Tokugawa shogunate led to the national trend of thought of being keen on Chinese studies and loving Ming and Qing painting schools. Gradually, the social peace and stability given by the lock-up of the country revived the scholars' pursuit of knowledge in China and the interest of China literati. Therefore, intellectuals not only have the ideal and sentiment of poetry, calligraphy and painting education, but also are deeply implanted in Japanese Sinology. Even the mountains, rivers and valleys in China's literati paintings and the smoke clouds on the paper came into being, so Japanese literati paintings prevailed.
It's just that there is still a gap between the concept of Japanese literati painting and the recognition standard of China literati painting. Strictly speaking, China's literati painting should be a scholar-bureaucrat painter. With the cultivation of Confucianism, the outlook on life expressed by him is definitely different from the types and techniques of professional painters in form and ethics.
From this theory to test Japanese literati painting, it is difficult for Japanese painters to have a high level of survival. Because China's literati are often the ruling class in feudal society, Chu Shi's official position and downfall in the dynasty, even if forced into exile, they are still hermits and hermits. China scholar-officials have land to rely on, and at most they live in seclusion and study in the rain. The painting theory of Nanzong in Ming and Qing Dynasties is to belittle the professionalism and meticulous style of Beizong painting school, and at the same time thank the literati for their chic and wild paintings for Nanzong. The elegant style of the four masters of graceful and restrained Yuanqu is far from the artistic conception of paintings and poems in Wang Wei's poems, and is considered to be in the same strain.
Japanese South Painting Masterpiece
On the other hand, the big landlords in the Edo feudal era were all generals and upper-class warriors, while the scholars were only the salary class, and their fame was not guaranteed at any time. In addition, calligraphers have to rely on the support of wealthy businessmen and powerful warriors to survive. Therefore, Japanese literati painters have to be professional painters, and at the same time, they are more or less mixed with the characteristics of the northern Sect. Therefore, it is difficult to distinguish between Japanese literati painters and professional painters, and it is a bit far-fetched to call it Nanzong painting. Fortunately, after the 1920s, the word "southern painting" gradually became popular, which simply and vividly showed the new Edo painting style under the compromise between literati's ideal and life reality.
Echo of China's Literati Paintings in Japan
Literati painting is a Southern Sect critic in the late Ming and early Qing Dynasties. It deliberately suppressed the arrogance of painting academies in past dynasties, and devoted itself to praising the character and integrity of Shan Ye painters, which can be said to be a rather arbitrary and overbearing aesthetic standard. When China's literati paintings spread to Japan with the respect of the mainstream art circles in the Qing Dynasty, accompanied by the whispers of people of insight, they quickly aroused curiosity in the Pipang Confucian circle full of interest in China, and they competed to imitate them according to the following painting spectrum and painting theory.
The earliest example of Japanese southern painting is/kloc-several small officials who worked for local samurai after the 8th century. Relying on the accomplishment of Chinese studies, they explored brushwork by drawing scores, such as Zhiyuan Nanhai (1676 175 1), Pengcheng Baichuan (1697 1752) and Liu Ze. However, due to my humble opinion, not only did my personal style not reach, but the true essence of the Ming and Qing albums was not absorbed.
Until the middle of18th century, Ikeno Taiga (1723 1776) and Xie wucun (17 16 1783) became famous in the painting world, and the painting in southern Japan began to have a distinct personality. The two of them are called the finishers of paintings in southern Japan. The so-called organizer must be an integrator who combines the strengths of leading experts from all walks of life and digests the essence of traditional factions. However, the role of the organizer here includes not falling into the formalism of Nanzong's pen and ink, and creating regional landscapes independently. Chi Daya and Xie Wu Cun are such southern Japanese painters.
Both of them were professional painters and were active in Kyoto in their later years. In his early years, Ikeno Taiga made a living by painting sectors, and he was a typical street painter. Xie Wucun was born in harmony with learning. When he was old enough to draw, his life could be stable. Daya and Wuhu Village are basically unaffected by Confucianism, but they resonate with the "charm" advertised by Nan Zongshu and the leisurely life of literati.
Chi Daya's paintings will not be finalized until he is about forty years old. I have been fond of traveling all my life. He tasted the printed edition and laughed at himself: "I went to Wan Li Road and haven't studied thousands of books yet." However, to experience the true colors of mountains and rivers, you must have creativity that others don't have, which is the specialty of elegant painting style. Although Wang Lin Wai Hu is an old work before the age of forty, its true landscape and realism have indeed revealed elegant clues.
Compared with the ink paintings of Nanzong in Ming and Qing Dynasties, Chidaya's Nanshu seems to have too many decorations, because he suffers from the taboo golden green in literati paintings and the hard work spirit of craftsmen on paper doors and screens. However, Chi Daya is an out-and-out professional painter. In order to cater to the sales of "Yamato Painting", he had to make every effort to downplay the splendor, turn the essence into seclusion and turn the pen into free and easy. As a result, he inherited the unique style of painting in southern Japan, such as "landscape painting screen in pavilion".
Chi Daya's masterpiece "Pavilion Screen"
The most famous masterpiece of Japanese Southern Books is Ten Handicrafts and Ten Appropriate Sticks written by Ikeno Taiga and Xie Wucun. The previous post was painted by Daya; The post was painted by Wu Cun. The title comes from Li Daiweng's poem "Ten Toilets and Twelve Appropriate Poems in Yiyuan Garden", which describes his seclusion in Biezhuang, Jinling. Ten is to reply that tourists are comfortable and convenient here, and twelve is to praise that it is suitable for all seasons. Chi Daya's Ten Records fully grasped the philosophy of hermit life. With Xie Wucun's ten appropriate posts, he is completely away from Chinese flavor and creates the mystery of natural change. Both works were written in 177 1 year.
Chi Daya and Xie Wucun collaborated on Shadow and Inside Pages of Ten Convenient Posts.
Xie Wucun was also a late bloomer. He settled in Kyoto in his forties and returned to normal people's livelihood by selling paintings. Before that, Wu Cun was a wandering and humorous poet, who worshipped banana all his life and sang in the footsteps of banana, and had a prominent position in Japanese literary world. Harmony is a kind of folk chorus, which truly reflects people's lives and has a simple and cordial style. As a result, Wucun's road paintings in his later years are full of artistic conception. His works have the same effect as Nuo paintings, which are plain and extraordinary, and also fully reflect the aesthetic interest of Japanese literati in chanting the beauty of mountains and rivers, loving leisure and making a mountain out of a molehill.
However, there are also monologues with great natural customs. At first glance, the picture of ten thousand families on a snowy night is the ordinary scenery of ordinary people's homes, while the top picture of Mount Emei depicts the famous mountains in China, but it has a light and dignified homesickness. Xie Wucun's world of combining poetry and painting is probably the most needed Japanese painter for literati painting temperament.
It's almost19th century after Daiya and Wucun, and Japanese southern painting is still in full swing. Not only Kyoto and Osaka are famous for their talents, but Edo is also a place where Great Britain stands side by side, and even remote villages are full of talents. Painters in Shangnan generally have a certain quality of Chinese studies. They are either good scholars, connoisseurs, or once learned little officials, so they are noble and noble Geng Jie who know the character of literati painting. Edo painters are mostly Confucian ministers. On the other hand, many southern painters in the Kyosaka area interrupted their careers for some reason and indulged themselves. The difference between southern painters in Kyoto and Edo is also related to their status in South Korea and the opposition, and their different personalities are obvious. In other words, the South Book in Kyoto is closer to the pure South School, while the South Painting in Edo has a compromise style of mixing the North School.
As far as painting is concerned, the highest artistic talent in Japanese Nanshu is Yutang (1745 1820) in Pushang, Kyoto, with sophisticated brushwork and lack of ink color. After Yutang, a group of quite special literary and art figures appeared in Kyoto, headed by scholar Lai (178 1 1832), surrounded by poets and poets, including doctors, monks, learned people and artists. Famous ceramist and painter Mu Qing Mihm (1767 1833) and Tianneng Village Takeda (1777 1835) are also members. Three unique poems, paintings and calligraphy of takeda that you yitian can survive. With his knowledge, he can best understand the concept of Nanzong, and his works are also the most authentic example of Nanzong in Japanese southern paintings. No wonder Lai said he was a "real China man".
Up to now, the most respected figure in the Edo (Tokyo) South Painting Circle is Watanabe Huashan (1793 184 1). He once offended the shogunate because of his keen interest in western learning and was forced to live in seclusion. But the biggest feature of his paintings is the shadow method and three-dimensional sense of portraits. Isn't this the branch method of foreign painting? The masterpiece "Eagle Seeing Spring Stone Statue" can be said to be the first stepping stone for Japanese people to understand the principles of foreign painting.
Watanabe Huashan (1793 184 1) makes a stone statue of Eagle Seeing Spring.
The appearance of Kyoto sketch
/kloc-In the mid-8th century, Suzuki Harunobu created multi-version and multi-color ukiyo-e, and its colorful writing satisfied the lewdness of Edo citizens. Intellectuals in Kyoto can also embrace the landscapes painted in the south to enhance the self-restraint and sentiment of literati. Now it's the turn of ordinary people in Kyoto, and they want to change the delicate and flashy taste of "Lin Pai". The four derivatives of Yuanshan Mountain came at the right time, which was widely welcomed by the public in order to fight against the imperial "wild hunting faction" and arouse the real world in people's eyes.
The reason why the four schools of Yuanshan discuss the closeness of people is because they accepted the technique of sketching. Sketch was originally the idea of westerners. At that time, many natural science books were transported by Dutch ships in Nagasaki, and many of them attracted the interest of painters. In addition, it may be that Shen Nanping, a painter of the Qing Dynasty, popularized flowers and birds of the Ming and Qing Dynasties in Nagasaki and became a "Nanping style" imitated by others. These two novel techniques are based on sketch to achieve realistic performance. The first person in Kyoto who had sketching training and then studied China's flower-and-bird painting and foreign realism seriously was Hideyoshi Toyama (1733 1795).
Yingshan Yingju is a low-level painter. He used to be interested in "materialism" and painted many pictures of animal and plant specimens. This is the most complete exercise process for the painter to observe the object. Combining Nanping style or western realism, it transcends the Japanese painting process and injects new ideas into sketch effortlessly.
What is the sketch of Japanese painting? On the one hand, it respects the existing decoration of Japanese paintings; On the one hand, we attach importance to the realism of sketch. 1765 "Cedar Map" is the prototype of Yuan Shan's creation to expose the sketch schools such as boneless method and light and shade method. In the future, we will draw a series of large-screen paintings for social temples and wealthy businessmen. And still adhering to the new painting style, even students will go all out to form a huge round mountain school force.
Wu Chun (17521811) is a disciple of Yuanshan, and he also studied southern painting with Xie Wucun in his early years. Therefore, when he inherited the realism of Yuanshan School and merged the lyric style of Nanhua School, he finally opened up the realm of Japanese realistic life poetry. The result is more in line with the interesting psychology of the citizen class than the Yuanshan school, and it has also become the dominant school of Kyoto painting. Wu Chun's family all live near Sitiaotong in Kyoto, hence the name "Sitiaopai". In order to show that the two schools coexist and have similar styles, later historians simply called them "Yuanshan Four Schools".
The distant mountain wants to give Cedar a picture.
There are only two outstanding representative works of the four schools of Yuanshan in the Edo period: The Waterfall Map of Yuanshan and the Sailing Map of Wu Chun. The subtle scenery and magnificent composition can probably predict that the modern Japanese paintings in Kyoto are not monopolized by the new Japanese paintings in Tokyo Fine Arts School at all, which is why they have their own reasons. Facing the impact of the West Lake, Kyoto Sketch School is full of heroism. From the end of the curtain to the early years of Meiji, many people emerged in large numbers. Kawabata Yasunari Zhang Yu, Yukio Yuno Ridge, Takeuchi Lufeng, Suzuki Matsunian and Uemura Matsubara are all masters of the four schools of Yuanshan, which have been handed down from generation to generation. Until World War II, the charm of Kyoto Sketch School still closely patted the life feelings of Kyoto people.
The original title of the article is "Overseas Glory of Ming and Qing Paintings: On the Influence of Ming and Qing Paintings on Japanese Southern Paintings and Kyoto Sketch School".
refer to
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