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Different Styles of Landscape Painting in North and South China
Although there was the chaos of wars
and many dynastic changes during the Five Dynasties and Ten Kingdoms Period
(907-979), painting was still developing on the basis of previous dynasties.
Paintings of figure, mountain-and-water and flower-and-bird, reached a new peak
during this short and warring period.
Wars in the Central Plains did not stop the production of
paintings. More topics were absorbed into figure painting in the Five Dynasties,
such as religious stories, historical stories and scholar's life. A large number
of painters emphasized on describing the expression and inner world of figures,
thus the artistic level of true-to-life portrayal scaled a new height. The
techniques and style followed two directions: as to meticulous painting
(gongbi hua), its strokes and colors were more varied than those of the
Tang Dynasty; as to the ink and wash, great freehand-brushwork emerged.
Landscape painting achieved prominent progress in this period. Its subject and
technique developed in leaps and bounds. Landscape was treated as a form of
environmental art. The appearance of Jing, Guan, Dong, Ju schools and the Four
Great Masters became the milestone of the history of Chinese landscape
painting. There emerged two completely different styles
of landscape painting -- Jing Hao and Guan Tong, representing the northern
school; Dong Yuan and Ju Ran, the southern school. The northern school pursued a
panoramic structure and spectacular when painting, while the southern school
focused on the morbidezza of mountains and waters in southern China. It was on the basis of techniques used
by Dong Yuan and Ju Ran, that Mi Youren, the best-know scholar painter in the
Song Dynasty (960-1279), created ink-and-wash painting.
Light-ink stroke, an important skill of Chinese landscape painting, also
developed greatly. The way of using ink gradually became abundant. After long
period of development, ink and wash landscape painting was mature.
The two painting contradictory styles
aroused the scholars' interest in other artistic fields like poem, article and
calligraphy. Sikong Tu (poet in the Tang Dynasty), Yan Yu (poetry critics
in the Song Dynsaty), Xu Wei (painter and calligraphy in the Ming Dynasty) and
Hu Yinglin (writer in the Ming Dynasty) had close relationship with the southern
school of landscape painting. They exerted a significant influence in the 300
years of the Qing Dynasty (1644-1911).
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