Under the guidance of Zhao Mengfu, Huang saw wildness and injustice in his creation, which obviously showed a tendency of entanglement between pen and ink and reality. The big idiot's feelings in "Writing Scenery" are mainly four points: for the bureau, for fun, for rhyme and for pulse. Scholar's spirit is the concentrated expression of drama, interest, rhyme and reason, that is, "painting a stone and removing ink will have a scholar's family style." In Fuchun Shan Jutu and Jiu Feng Snowflake, we not only see the difference between ink painting and light crimson, but also see a rational struggle to make the play interesting: the pursuit of free realm (the shaping of free feelings).
Wang Meng, who once hid in the Yellow River Mountain, mixed with the ancient seal cutting method and played a symphony with dots and lines. In the seclusion in the Qing dynasty, this kind of panoramic composition of reverse regression shows the artist's unique understanding of the order beauty of "winding mountains", which is obviously different from Nanzong's view of "replacing reality with emptiness"
Ni Zan, who was called the ultimate yuan painting by later generations, took Jane as the Sect, which was in sharp contrast with the "complexity" of the literati. He is good at painting with the principles of Zen and Taoism, and puts forward the aesthetic views of "escaping from the pen without seeking the shape" and "escaping from the chest", which has a far-reaching impact on future generations. His pure mind, three-stage composition and tortuous brushwork in Autumn in Fishing Village are the highest embodiment of this aesthetic observation. If we say mountains and rivers, we can say that ancient and modern times are inseparable.
Zhenwu, who has been poor all his life, likes "the study of heaven and man" and takes Buddhism as his friend. Therefore, he tried his best to be plain and pursue an uncontroversial spiritual paradise. The source of pen and ink presented a strange charm, simple and pure spirit.
In a word, among the four Yuan schools, Wang, Ni Zhijian and Wu Zhidan all have their own beauty and knowledge, but they are all based on the spirit of escape. Their paintings are full of the spirit of cloth, and the "source of law"-beauty and knowledge in the form of blocking meaning and thinking and thinking-has become the coordinate of the three-time transformation of China's landscape painting.
China's landscape painting has undergone three changes since the Tang Dynasty, which lasted for 800 years, and formed a complete performance system with Zen and Taoism as the background, poetry as the metaphor, three distances as the space, pen and ink as the pen and ink, nature as the observation and heart source as the model. Zhang Hong, a painter in Ming Dynasty, attached great importance to sketching, learning from nature. His brushwork is steep, his pen and ink are moist, his mountains and rivers are deep, and he has the ancient meaning of Yuan people. He painted stone with stripes, which was the backbone of Wumen painting circle in the late Ming Dynasty and was highly praised by Wumen literati. Xu Wei further improved the freehand brushwork of flower-and-bird painting. Chen Hongshou, Cui Zizhong, Ding et al. Created a method of drawing deformed graphics. Originally, landscape painting developed to the middle of Ming dynasty, and it was relatively open, and the dispute between painting schools was the main feature. This is a sign of vitality. Among the four major schools of painting, it can be divided into "Zhejiang School" headed by Dai Jin, "Wu Pai" represented by Ming Sijia (Shen Zhou, Wen Zhiming, Tang Yin and Chou Ying) and "Wu Pai's stamina" represented by Zhang Hong. From Wanli to Chongzhen (1628 ~ 1644), there has been a new turning point in the field of painting. Suzhou painters, represented by Zhang Hong, found a new way in literati landscape painting and created works full of life flavor. They innovate on the basis of inheriting Wu Pai's painting style and characteristics, return to nature, sketch in Shan Ye, learn from nature, and understand the true meaning of painting. He embodies the transcendental spiritual realm in his paintings, which brings life to landscape painting.
Wang Shimin, Wang Jian, Wang and Wang Yi, the "four kings" of Qing Dynasty, influenced Dong Shi's painting theory, showing the imitation style of Ming Dynasty, reaching the ultimate understanding of traditional literati's pen and ink, catering to the political and cultural pursuit of Qing Dynasty, and affecting the pattern of market prospect for a hundred years. In the early Qing Dynasty, there were many painters who were different from the four kings' artistic views, and many dared to innovate, but few dared to come out and be unique. Shi Tao, the revolutionary leader who advocated the innovation of landscape painting at that time, appeared under the background of Manchu nobles ruling the painting world. The former Ming dynasty left an empty door, broke through the convention with the spirit of cynicism and took free personality as the artistic goal. He challenged the four Wang theories by "searching all over Qifeng and rising from the ground". Shi Tao's significance lies in his views on life movement, overall momentum, rhythm, contrast of center of gravity and tension of pen and ink. Coupled with the profound knowledge and cultivation of the three religions and one theory, it can be said that the feelings of literati have seen another peak in Shi Tao's face. It is precisely because Shi Tao developed a set of freehand brushwork formal rules with self-writing spirit, novel posture, visual stimulation and artistic appeal with his rebellious pen of life. His influence has been a model for generations since the early Qing Dynasty.