Wei and Jin Dynasties
Buddhism entered China in the 1st century. By the 8th century, it has shown outstanding achievements in the field of art.
Effects, especially in large religious statues. In the Wei and Jin Dynasties, the Southern and Northern Dynasties, Buddhist art flourished, Dunhuang Grottoes, Yungang Grottoes, Longmen Grottoes, etc., a large number of murals and clay sculptures, while depicting religious content, reflect the real-life; in addition to folk painting, Shilin painters Emerge. The "History of Women's History" (the existing transcript) of the Eastern Jin Dynasty is a masterpiece of early figure paintings. The painting uses pens such as spring silkworms to silk, tight and continuous, with both form and spirit, and the style is ancient, and the content is to promote the feminine cultivation of feudal women. The traditional Chinese figure painting pays attention to the educational function of “educationalization and helping people”.
The Five Dynasties and the Song Dynasty
Part of the "Qingming Riverside Map" depicts the bustling and lively scenes and beautiful natural scenery on the banks of the Northern Song Dynasty, the Liangzhu, and the Weihe River.
The Five Dynasties and the Two Song Dynasties were the heydays of Chinese painting art. With the establishment of the painting institute, the court paintings show a prosperous and active scene, and later literati paintings usually trace the painting tradition back to this time. New paintings such as folk paintings have also begun to appear. For example, in the Northern Song Dynasty, Zhang Zeduan's "The Riverside Scene at Qingming Festival", with long-volume composition, vividly depicts the bustling scene of Yujing (now Kaifeng), and faithfully displays the social lifestyle at that time. In this period, the last part of the landscape paintings was the most inked part.
In the Five Dynasties, Jing Hao and Guan Tong, who lived in the Central Plains, Dong Yuan and Ju Ran, who lived in Jiangnan, used different pen and ink techniques to depict the mountains and rivers of different regions. It has an important influence on the development of later landscape paintings.
The Northern Song Dynasty Li Cheng’s Pingyuan style, Fan Kuan’s mountains, Xu Daon’s forest, wild water, Guo Xi’s giant wall, Hui Chong, Zhao Ling’s lyrical scene, Mi Fu, Mi Youren’s father’s Yunshan ink scene, The landscape paintings of the Northern Song Dynasty are highly mature. In the Southern Song Dynasty, the painting style of Dashan Hall was no longer replaced by a large number of white painting methods.
Li Tang inherited the former dynasty but developed a unique ax skill to draw the mountain stone. Later, the painters such as Ma Yuan and Xia Gui basically follows Li Tang's style. However, on the screen, he pays attention to tailoring, large-scale white rendering, and airiness. It is called poetic landscape, and it becomes slim, reflecting the constant change and development of landscape painting.
Flower and bird paintings have also made great progress. In the Five Dynasties, Xu Xi’s Tinghua Wild Bamboo and Huang Qi’s exotic flowers and birds have two different styles, namely, Yayi and Fugui. In the Northern Song Dynasty, the flower and bird painting changed from symmetrical decoration to realistic and vivid, emphasizing the imitation, Zhao Chang's folding flowers, Yi Yuanji's apes, Cui Bai's defeated geese can be regarded as the representative of the early and middle period of the Northern Song Dynasty.
When he arrived at Zhao Yi’s administration, he deliberately managed the painting institute, emulating the examinations of the imperial examinations, increasing the treatment of the paintings, and making Huizong Dynasty the peak of paintings in the Song Dynasty. His garden flowers and birds painted, emphasizing fine and realistic, lifelike. The paintings of flowers and birds in Liang Song and Fa Chang of the Southern Song Dynasty have been the first of its kind in ink and wash. The Mozhu of Wentong can be said to be the earliest masterpiece without bones and flowers.
In terms of ceramics, the Song Dynasty also reached its peak. At this time, the monochrome porcelain process reached the extreme. The kiln burned at the end of the Northern Song Dynasty is the ultimate development of monochromatic porcelain.
It has a warm color, a luster of pearls, and is made of glazed glaze. The craftsmanship is superb. Rare, less than one hundred. Others such as Ding Kiln, Yaozhou Kiln, Cizhou Kiln, and Jian Kiln have a very high level of development, and have a large number of export sales, affecting neighboring East Asia and other places.
The Southern Song Dynasty official kiln is considered to be inherited from the kiln and is supplied to the court for the use of high-grade porcelain. The Longquan kiln and Jingdezhen also have a large amount of production at this time, which is supplied for export. The seabed wreck in archaeological finds in recent years can be supported.
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