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Chinese Mountain and River Painting - Shan Shui Hua
Chinese mountain and river painting is belong to Chinese water collar painting, also called " Shan Shui Painting". Chinese painting takes the natural landscape of mountains 
and rivers as the main description object. It was formed in the Wei, Jin and Southern and Northern Dynasties 1700 years ago, but it has not been completely separated from the painting of people. In the Sui and Tang dynasties 1000 years ago, it was already independent, and in the Five Dynasties and Northern Song dynasties, Shan Shui painting tended to be mature and became an important painting style of Chinese painting. Traditionally, according to the painting style, it is divided into green landscape, golden landscape, ink landscape, light purple landscape, small green landscape, boneless landscape and so on.
Chinese mountain and river painting was the most profound precipitation in the Chinese peoples feelings. The cultural consciousness of visiting mountains and rivers, the inner consciousness of regarding the mountain as virtue and the water as character, and the deep consciousness of approaching the horizon, had always become the central axis of Shan Shui painting interpretation. From the Shan Shui painting, we can focus on appreciating the artistic conception, style, charm and tone of Chinese painting. No other painting department could give the Chinese people more emotion like Shan Shui painting. If you talked with others, landscape painting was the foundation of the nation, the classical confidence, the image of the country, the temperament of the people.
Origin of Chinese Mountain and River collar Painting
Chinese Shan Shui painting is more than 1000 years earlier than western painting. The diagram and meaning of its phase was actually a history of Chinese thought. As early as 7,000 years ago, the awakening of remote Chinese ancestry was recorded in patterns. The relics of Hemudu culture of Neolithic stone had expressed the connotation of conceptual culture with line carving. Settled farming civilization not only made people recognize the beauty of tools, but also recognized the beauty of wares. Art was not only an imagination to conquer nature, but also a symbol of conquering natural imagination. At the very beginning, the ancient Chinese had dialogue with nature by art, and the logical discovery and appreciation of art washed peoples eyes, pushed the unity of nature and human being from chaos to clear.
Since the Yangshao culture, the relationship between man and nature had been symbolic means. In the skill of geometric decoration, the constituent concepts of symmetry and motion had been clearly applied in the expression of time and space. the Worship of Ji God was especially touching sample. The country was based on agriculture at that time, therefore the sacrifice to the god of Ji was popular. The relationship between grain, farmland and people in this picture conveyed a simple understanding of the means of life. On the basis of the cognition of the natural relationship between man and animals and plants, social consciousness had become the most critical origin of civilization. The Picture of Cangyuan Village was just the human being’s understanding of the "home" in the form of rock paintings. The most interesting visual part of this painting was the roads connection on the village, and the scene of taking prisoners, driving animals, worshiping heaven, and dancing gods all surrounded the center of the village. The relationship between man and nature, and the relationship between man and society, was constantly deepened and developed along with the view of art.
The earliest Chinese mountain and river painting
The earliest appearance in Chinese painting was human painting from the perspective of the creation theme. Initially Chinese painting took mountains and rivers as supplement of people painting, and later mountain and river painting developed into an independent painting —— Shan Shui painting. The earliest Shan Shui painting we could see now was Spring Tour Picture by Zhan Ziqian in the Sui Dynasty.
Qin and Han dynasty
In the Qin and Han dynasties, the scenes of labor and life moved from the countryside to the imperial power, and the fresco in the palace became the mainstream of the times. Chinese art got rid of the original form due to Recognizing royal palace as the family. The scholar-officials in the ruling class began to dominate the culture. The scholar culture realized the separation from the local culture. For Shan Shui painting, this separation had profound means. If we carefully studied the Qufu stone carving "courtyard map", we would be shocked by its creativity of visual illusion.
This artistic touch formed by visual conflict could be more experienced in the ancient classics such as "Spring Rain", "House Gate", "Harvest shot Map" and so on. A very obvious direction was that with the deepen understanding relationship between man and nature and society, the way people saw the world had also changed. It was from the original concept for image, decoration for use and geometry for image, developed as will for image, life for use and realm for graph. The accumulation of recognition, the germination of the elements of Shan Shui painting, all laid the solid foundation for the birth of mountain and river painting.
Wei and Jin Shan Shui Landscape poetry
To experience the eternity of heaven and earth from the perspective of individual life and appreciate the freedom of human, Shan Shui poems was started in Wei and Jin dynasties, also influenced the Shan Shui painting. The significance of Xie Lingyun was to pay attention to the support of shape during the consciousness of literature, and to pursue the transcendence of mystery from the ontology of philosophy. The real representative of the Chinese Shan Shui was Tao Qian, or Tao Yuanming. Tao’s poetry was a profound philosophy beyond the mysterious language. An artistic idea was to find the shape for the invisible structure that you experienced personally. Tao’s poetry was the true feeling, was the philosophy reflecting the Chinese spirit, was detached, was plain and neutral.
Establishment of Mountain and River painting
Nowadays, the people owed the formal establishment of mountain and river painting to Mr. Gu Kaizhi’s master pieces of Ode To The Luo God and The Picture Of Female Historiographer. In the analysis of them, we could see the complex performance of peak, stone, cloud, water and tree. This artist firstly put the landscape painting on the stage of Chinese art. His Painting Yuntai Mountain could be regarded as the pioneering work of shan shui painting. Although the essay was the story of Zhao Sheng’s sacrificing his life to learn from the master, the part of his environment painting became the later reflection of Chinese landscape painting.
The establishment was mainly derived from the following points:
1. The mountain had light and shadow side, the water had its reflection, clouds could reflect east and west, the "empty and blue" of the water and sky showed the weather with the sun.
2. Arranged the near and far peaks in the order of eastward to westward and created a high and dangerous situation.
3. The layout in the middle section mainly emphasized the " potential confrontation", which has relative significance.
4. The east, middle, west part of the mountains were compacted to the long scroll closely. On the upper one-third of the mountain, clear could divided it into two layers.
The importance of Gu’s theory was that he put forward the line shape of flowing water and cloud, the layer upon layer form, and the pattern of separating mountain to three section, and separated into three space.
Ancient China Mountain and River painting Schools
Huang School
Also known as "Yellow School of painting", "Huang family wealth". It occupied an important position in the history of Chinese landscape painting. It was one of the two major schools of landscape painting in the Five Dynasties. It was matured in the Five Dynasties and flourished in HuangJu in the early Song Dynasty. Huang Ju Cai had high skills, was good at melting the predecessors of light hook and thick color techniques, was loved by the ruling class as imperial painter. His son Huang Ju and Huang Ju Bao inherited their family traditions and became the dominant landscape faction in the Song Dynasty. The Huang School represented the painting style of Western Shu Kingdom and the Central Plains in the late Tang Dynasty, Five Dynasties and early Song Dynasty, and became the typical style of courtyard landscape painting.
Xu School
Xu School was also one of the two major schools of landscape painting in the Five Dynasties. The representative painter was Xu Xi of the Southern Tang Dynasty. His works payed attention to the outline, light color, revealing natural and unrestrained style. Xus’ brush and ink skills had a great influence on the later generations. When Xu Chongsi, the grandson of Xu Xi, emerged, and the reputation of the Xu Xi School of Painting gradually increased. Later, Zhang Zhong and Wang Ruoshui, Shen Zhou, Chen Daofu, Wen Zhengming and Xu Wei in the Ming Dynasty all developed and finalized this painting style, thus competing with the Huangs Shan Shui painting school, which influenced the Shan Shui landscape painting of the Song, Yuan, Ming and Qing dynasties for thousands of years.
Wu Men School
Wu school was a Chinese painting style in the middle of the Ming Dynasty. Because Suzhou was the ancient capital of Wu Kingdom, it was known as Wu Men, and its main representatives, such as Shen Zhou, Wen Zhengming, Tang Yin, Qiu Ying, Zhang Hong, etc., all belong to Wu County (todays Suzhou), hence the name. The Wumen style of Painting began from Shen Zhou and matured in Wen Zhengming, plus Tang Yin and Qiu Ying, which was the "Four Schools of Wu Men" or "Four Families of Ming Dynasty". After the middle of the Ming Dynasty, the "Wu School" gradually replaced the position of court painting and the "Zhejiang School", which was reproduced in the society, especially among the literati. In the middle and late period of Wu School, social economy was unprecedented, and painting appreciation became a part of peoples life. The status of painters was further improved, and works with strong life atmosphere appeared in the painting world, forming a new look. The representative figures were Wen Jia, Zhang Hong, Zhou Zhiian, Chen Chun, Qiu Zhu, Wen Shu and so on. Different styles, wonderful, for the Wu Men School of painting injected new vitality.
Northern Shan Shui Painting Style
One of the schools of Chinese painting, also known as the "North Shan Shui painting school". At the beginning of the Northern Song Dynasty, Chinese mountain and river painting was divided into northern faction and Jiangnan faction.
Southern Shan Shui Painting Style
The southern landscape painting school is also known as "Jiangnan Landscape Painting School". One of the schools of Chinese painting, Shen Kuo of the Northern Song Dynasty said : " Dong Yuan wrote more about the south of the true mountain, not for the strange gas; Jianye monk is wonderful." Mi Fu in his " Painting History "also said:" Dong Yuan’s painting was plain and naive, no such painting in Tang dynasty." This school regarded Dong Yuan and Ju Ran as their great master. At the end of the Southern Song Dynasty, Fa Chang (Muxi) and Ruofen (Yujian) belonged to the southern painting system and flourished in the Yuan Dynasty.
Huzhou bamboo school
One of the schools of Chinese painting. This school of landscape painting mainly took bamboo forest as the expression object, represented by Song Wentong and Su Shi, especially Wen Tong painting bamboo. Ming Lianru in the Ming Dynasty once wrote Huzhou Bamboo School, and he described that there were 25 painters from the Northern Song Dynasty to the Ming Dynasty. Because Wen Tong had been the governor of Huzhou prefecture (now Zhejiang Wuxing), there it was called so. In the Yuan Dynasty, Zhang zhi believed that painting bamboo began with Li Longji, Emperor Xuanzong of the Tang Dynasty, and Wu Daozi, Wang Wei, Li Ang and Xiao Yue were also good at painting bamboo. Bai Juyi once wrote "Rest in Painting Bamboo" praised. And to the same bamboo art, Wens painted bamboo forest in all his life.
Changzhou school of painting
Also known as the "Piling School of Painting", the "Wujin School of Painting". One of the schools of Chinese painting. Changzhou (now belongs to Jiangsu province), the ancient name of Piling, Wujin, so it was also called "Piling School of Painting", "Wujin School of Painting". This school of painting was based on flowers, grass and insects. Painting flowers, did not use line outline, directly inked with color. His ancestors described the no-bones methods of Xu Chongsi and Zhao Chang in the early years of the Northern Song Dynasty. The Changzhou School of Painting has gathered painters since the Song Dynasty. In the early Southern Song Dynasty, Qingyan and Yu Wudao were famous for painting lotus. In the Ming Dynasty, Sun Long was good at painting freehand flowers and birds. Tang Yuguang in the Qing Dynasty was famous for the "Tang Lotus" and Yun Shoupings "Yun Peony". By the early Qing Dynasty, Changzhou landscape painting has reached its peak.
Mi Pai
One of the schools of Chinese painting. Referred to the paintings painted by Mi Fu and Mi Youren in the Song Dynasty. The history of painting called them "Elder Mi ,Younger Mi". Mi Fu painting was originated from Dong Yuan, and then break through the traditional techniques of hook and Cun, had more ink dye, not to pursue fine. Mi Fu claimed " just casually painted, more to cover trees and stones, sense reached is enough." His son Mi Youren (1074~1153 A.D.), developed Mi Fu’s painting techniques, he used ink horizontal point to write smoke cloud trees, advocated plain naive, drew casually. "Two Mi" were located in Xiangyang and Zhenjiang, particularly intoxicated with the natural scenery of Xiao, Hunan and Jin and Jiao mountains. Therefore, two Mis’ shan shui paintings were mostly themed on mountain, rain and smoke, purely foil with ink, and the "falling eggplant method" showed the beauty of misty rain and fog. It was called "Mi dotting landscape" and "Mis cloud and mountain", which belonged to the big masters of water and ink painting. Muqi in the Southern Song Dynasty, Gao Kegong and Fang Congin the Yuan Dynasty were all respected Mi as teachers, which had a great influence on later generations. And said that this faction was created by Mi Fu, by his son Mi Youren inherited development.
Songjiang school
Also known as the "Songjiang School of Painting". It was the general name for the three shan shui painting school under Songjiang prefecture (now Shanghai ) in the late Ming Dynasty. First, headed by Zhao Zuo, called "Su Song School"; second, headed by Shen Shichong, called "Yunjian School"; third, Gu Zhengyi and his nephews, called "Huating School of Painting".
Zhejiang School
Also known as the "Zhejiang School of painting". One of the schools of Chinese water collar painting. Dai Jin (1388~1462) painting was greatly influenced by Li Tang and Ma Yuan, took the style of the Southern Song Dynasty Painting Academy. He was good at landscape, figures, flowers and fruits, feathers, high painting art, popular for a while, learned from many scholars, gradually formed the "Zhejiang school". Wu Wei (1459~1508), a native of Jiangxia (now Wuchang, Hubei), learned with Dai even more freely. Many people tracked his painting style and formed a tributary of Zhejiang School —— "Jiangxia School". The famous painters of Zhejiang school and Jiangxia School include Zhang Lu, Jiang Sansong, Xie Shuchen, LAN Ying and so on. In the middle of the Ming Dynasty, the Wumen School of painting rose and dominated the painting world. By the end of the Ming Dynasty, the "Zhejiang School" no longer appeared in the painting world.
Huangshan school
Also known as the "Huangshan School of Painting". One of the schools of Chinese painting. In the early Qing Dynasty, Mei family in Xuancheng (now Anhui) were the direct line. They are Mei Qing, Mei Yuzhong, Mei Geng, Mei Fu, and Shi Tao who lived in Xuancheng. Shi Tao Fa in his early years, liked mountains and rivers, and repeatedly visited the scenic spots of Lushan mountain and Huangshan Mountain. For ten years in Xuancheng, he communicated with Mei Shi and Dai Benxiao. These painters, who taught both nature and the ancients, influenced each other and are famous for painting Huangshan, so they are called "Huangshan School". The Xinan School of Painting is mainly from Huangshan, so some people advocate that the Huangshan School of Painting, but the style is different from the "Huangshan School", just as Zhejiang and Cheng Sui have their own characteristics, so some people classify it into the "Huangshan School of Painting", which is really wrong.
Yu shan school
Also known as the "Yushan School of Painting". One of the schools of Chinese painting. Wang Hui, a landscape painter in the Qing Dynasty, studied Wang Jian and Wang Shimin, carefully copied the famous works of the past dynasties, and took the Song and Yuan dynasties to exchange painting skills with Yun Shouping. Emperor Kangxi once ordered him to preside over the giant painting of the "Cruising South Tour" , and gave the book "Shan Shui Qing Hui" four characters, so the reputation of the painting was famous in Kangxi period. His main students include Yang Jin, Gu Fang, Jin Xuejian, etc. Wang Hui was born in Changshu, Jiangsu Province, where Yushan was known as the "Yushan School of Painting". His ancient fashion had a great influence on the Qing Dynasty landscape painting.
and rivers as the main description object. It was formed in the Wei, Jin and Southern and Northern Dynasties 1700 years ago, but it has not been completely separated from the painting of people. In the Sui and Tang dynasties 1000 years ago, it was already independent, and in the Five Dynasties and Northern Song dynasties, Shan Shui painting tended to be mature and became an important painting style of Chinese painting. Traditionally, according to the painting style, it is divided into green landscape, golden landscape, ink landscape, light purple landscape, small green landscape, boneless landscape and so on.Chinese mountain and river painting was the most profound precipitation in the Chinese peoples feelings. The cultural consciousness of visiting mountains and rivers, the inner consciousness of regarding the mountain as virtue and the water as character, and the deep consciousness of approaching the horizon, had always become the central axis of Shan Shui painting interpretation. From the Shan Shui painting, we can focus on appreciating the artistic conception, style, charm and tone of Chinese painting. No other painting department could give the Chinese people more emotion like Shan Shui painting. If you talked with others, landscape painting was the foundation of the nation, the classical confidence, the image of the country, the temperament of the people.
Origin of Chinese Mountain and River collar Painting
Chinese Shan Shui painting is more than 1000 years earlier than western painting. The diagram and meaning of its phase was actually a history of Chinese thought. As early as 7,000 years ago, the awakening of remote Chinese ancestry was recorded in patterns. The relics of Hemudu culture of Neolithic stone had expressed the connotation of conceptual culture with line carving. Settled farming civilization not only made people recognize the beauty of tools, but also recognized the beauty of wares. Art was not only an imagination to conquer nature, but also a symbol of conquering natural imagination. At the very beginning, the ancient Chinese had dialogue with nature by art, and the logical discovery and appreciation of art washed peoples eyes, pushed the unity of nature and human being from chaos to clear.
Since the Yangshao culture, the relationship between man and nature had been symbolic means. In the skill of geometric decoration, the constituent concepts of symmetry and motion had been clearly applied in the expression of time and space. the Worship of Ji God was especially touching sample. The country was based on agriculture at that time, therefore the sacrifice to the god of Ji was popular. The relationship between grain, farmland and people in this picture conveyed a simple understanding of the means of life. On the basis of the cognition of the natural relationship between man and animals and plants, social consciousness had become the most critical origin of civilization. The Picture of Cangyuan Village was just the human being’s understanding of the "home" in the form of rock paintings. The most interesting visual part of this painting was the roads connection on the village, and the scene of taking prisoners, driving animals, worshiping heaven, and dancing gods all surrounded the center of the village. The relationship between man and nature, and the relationship between man and society, was constantly deepened and developed along with the view of art.
The earliest Chinese mountain and river painting
The earliest appearance in Chinese painting was human painting from the perspective of the creation theme. Initially Chinese painting took mountains and rivers as supplement of people painting, and later mountain and river painting developed into an independent painting —— Shan Shui painting. The earliest Shan Shui painting we could see now was Spring Tour Picture by Zhan Ziqian in the Sui Dynasty.
Qin and Han dynasty
In the Qin and Han dynasties, the scenes of labor and life moved from the countryside to the imperial power, and the fresco in the palace became the mainstream of the times. Chinese art got rid of the original form due to Recognizing royal palace as the family. The scholar-officials in the ruling class began to dominate the culture. The scholar culture realized the separation from the local culture. For Shan Shui painting, this separation had profound means. If we carefully studied the Qufu stone carving "courtyard map", we would be shocked by its creativity of visual illusion.
This artistic touch formed by visual conflict could be more experienced in the ancient classics such as "Spring Rain", "House Gate", "Harvest shot Map" and so on. A very obvious direction was that with the deepen understanding relationship between man and nature and society, the way people saw the world had also changed. It was from the original concept for image, decoration for use and geometry for image, developed as will for image, life for use and realm for graph. The accumulation of recognition, the germination of the elements of Shan Shui painting, all laid the solid foundation for the birth of mountain and river painting.
Wei and Jin Shan Shui Landscape poetry
To experience the eternity of heaven and earth from the perspective of individual life and appreciate the freedom of human, Shan Shui poems was started in Wei and Jin dynasties, also influenced the Shan Shui painting. The significance of Xie Lingyun was to pay attention to the support of shape during the consciousness of literature, and to pursue the transcendence of mystery from the ontology of philosophy. The real representative of the Chinese Shan Shui was Tao Qian, or Tao Yuanming. Tao’s poetry was a profound philosophy beyond the mysterious language. An artistic idea was to find the shape for the invisible structure that you experienced personally. Tao’s poetry was the true feeling, was the philosophy reflecting the Chinese spirit, was detached, was plain and neutral.
Establishment of Mountain and River painting
Nowadays, the people owed the formal establishment of mountain and river painting to Mr. Gu Kaizhi’s master pieces of Ode To The Luo God and The Picture Of Female Historiographer. In the analysis of them, we could see the complex performance of peak, stone, cloud, water and tree. This artist firstly put the landscape painting on the stage of Chinese art. His Painting Yuntai Mountain could be regarded as the pioneering work of shan shui painting. Although the essay was the story of Zhao Sheng’s sacrificing his life to learn from the master, the part of his environment painting became the later reflection of Chinese landscape painting.
The establishment was mainly derived from the following points:
1. The mountain had light and shadow side, the water had its reflection, clouds could reflect east and west, the "empty and blue" of the water and sky showed the weather with the sun.
2. Arranged the near and far peaks in the order of eastward to westward and created a high and dangerous situation.
3. The layout in the middle section mainly emphasized the " potential confrontation", which has relative significance.
4. The east, middle, west part of the mountains were compacted to the long scroll closely. On the upper one-third of the mountain, clear could divided it into two layers.
The importance of Gu’s theory was that he put forward the line shape of flowing water and cloud, the layer upon layer form, and the pattern of separating mountain to three section, and separated into three space.
Ancient China Mountain and River painting Schools
Huang School
Also known as "Yellow School of painting", "Huang family wealth". It occupied an important position in the history of Chinese landscape painting. It was one of the two major schools of landscape painting in the Five Dynasties. It was matured in the Five Dynasties and flourished in HuangJu in the early Song Dynasty. Huang Ju Cai had high skills, was good at melting the predecessors of light hook and thick color techniques, was loved by the ruling class as imperial painter. His son Huang Ju and Huang Ju Bao inherited their family traditions and became the dominant landscape faction in the Song Dynasty. The Huang School represented the painting style of Western Shu Kingdom and the Central Plains in the late Tang Dynasty, Five Dynasties and early Song Dynasty, and became the typical style of courtyard landscape painting.
Xu School
Xu School was also one of the two major schools of landscape painting in the Five Dynasties. The representative painter was Xu Xi of the Southern Tang Dynasty. His works payed attention to the outline, light color, revealing natural and unrestrained style. Xus’ brush and ink skills had a great influence on the later generations. When Xu Chongsi, the grandson of Xu Xi, emerged, and the reputation of the Xu Xi School of Painting gradually increased. Later, Zhang Zhong and Wang Ruoshui, Shen Zhou, Chen Daofu, Wen Zhengming and Xu Wei in the Ming Dynasty all developed and finalized this painting style, thus competing with the Huangs Shan Shui painting school, which influenced the Shan Shui landscape painting of the Song, Yuan, Ming and Qing dynasties for thousands of years.
Wu Men School
Wu school was a Chinese painting style in the middle of the Ming Dynasty. Because Suzhou was the ancient capital of Wu Kingdom, it was known as Wu Men, and its main representatives, such as Shen Zhou, Wen Zhengming, Tang Yin, Qiu Ying, Zhang Hong, etc., all belong to Wu County (todays Suzhou), hence the name. The Wumen style of Painting began from Shen Zhou and matured in Wen Zhengming, plus Tang Yin and Qiu Ying, which was the "Four Schools of Wu Men" or "Four Families of Ming Dynasty". After the middle of the Ming Dynasty, the "Wu School" gradually replaced the position of court painting and the "Zhejiang School", which was reproduced in the society, especially among the literati. In the middle and late period of Wu School, social economy was unprecedented, and painting appreciation became a part of peoples life. The status of painters was further improved, and works with strong life atmosphere appeared in the painting world, forming a new look. The representative figures were Wen Jia, Zhang Hong, Zhou Zhiian, Chen Chun, Qiu Zhu, Wen Shu and so on. Different styles, wonderful, for the Wu Men School of painting injected new vitality.
Northern Shan Shui Painting Style
One of the schools of Chinese painting, also known as the "North Shan Shui painting school". At the beginning of the Northern Song Dynasty, Chinese mountain and river painting was divided into northern faction and Jiangnan faction.
Southern Shan Shui Painting Style
The southern landscape painting school is also known as "Jiangnan Landscape Painting School". One of the schools of Chinese painting, Shen Kuo of the Northern Song Dynasty said : " Dong Yuan wrote more about the south of the true mountain, not for the strange gas; Jianye monk is wonderful." Mi Fu in his " Painting History "also said:" Dong Yuan’s painting was plain and naive, no such painting in Tang dynasty." This school regarded Dong Yuan and Ju Ran as their great master. At the end of the Southern Song Dynasty, Fa Chang (Muxi) and Ruofen (Yujian) belonged to the southern painting system and flourished in the Yuan Dynasty.
Huzhou bamboo school
One of the schools of Chinese painting. This school of landscape painting mainly took bamboo forest as the expression object, represented by Song Wentong and Su Shi, especially Wen Tong painting bamboo. Ming Lianru in the Ming Dynasty once wrote Huzhou Bamboo School, and he described that there were 25 painters from the Northern Song Dynasty to the Ming Dynasty. Because Wen Tong had been the governor of Huzhou prefecture (now Zhejiang Wuxing), there it was called so. In the Yuan Dynasty, Zhang zhi believed that painting bamboo began with Li Longji, Emperor Xuanzong of the Tang Dynasty, and Wu Daozi, Wang Wei, Li Ang and Xiao Yue were also good at painting bamboo. Bai Juyi once wrote "Rest in Painting Bamboo" praised. And to the same bamboo art, Wens painted bamboo forest in all his life.
Changzhou school of painting
Also known as the "Piling School of Painting", the "Wujin School of Painting". One of the schools of Chinese painting. Changzhou (now belongs to Jiangsu province), the ancient name of Piling, Wujin, so it was also called "Piling School of Painting", "Wujin School of Painting". This school of painting was based on flowers, grass and insects. Painting flowers, did not use line outline, directly inked with color. His ancestors described the no-bones methods of Xu Chongsi and Zhao Chang in the early years of the Northern Song Dynasty. The Changzhou School of Painting has gathered painters since the Song Dynasty. In the early Southern Song Dynasty, Qingyan and Yu Wudao were famous for painting lotus. In the Ming Dynasty, Sun Long was good at painting freehand flowers and birds. Tang Yuguang in the Qing Dynasty was famous for the "Tang Lotus" and Yun Shoupings "Yun Peony". By the early Qing Dynasty, Changzhou landscape painting has reached its peak.
Mi Pai
One of the schools of Chinese painting. Referred to the paintings painted by Mi Fu and Mi Youren in the Song Dynasty. The history of painting called them "Elder Mi ,Younger Mi". Mi Fu painting was originated from Dong Yuan, and then break through the traditional techniques of hook and Cun, had more ink dye, not to pursue fine. Mi Fu claimed " just casually painted, more to cover trees and stones, sense reached is enough." His son Mi Youren (1074~1153 A.D.), developed Mi Fu’s painting techniques, he used ink horizontal point to write smoke cloud trees, advocated plain naive, drew casually. "Two Mi" were located in Xiangyang and Zhenjiang, particularly intoxicated with the natural scenery of Xiao, Hunan and Jin and Jiao mountains. Therefore, two Mis’ shan shui paintings were mostly themed on mountain, rain and smoke, purely foil with ink, and the "falling eggplant method" showed the beauty of misty rain and fog. It was called "Mi dotting landscape" and "Mis cloud and mountain", which belonged to the big masters of water and ink painting. Muqi in the Southern Song Dynasty, Gao Kegong and Fang Congin the Yuan Dynasty were all respected Mi as teachers, which had a great influence on later generations. And said that this faction was created by Mi Fu, by his son Mi Youren inherited development.
Songjiang school
Also known as the "Songjiang School of Painting". It was the general name for the three shan shui painting school under Songjiang prefecture (now Shanghai ) in the late Ming Dynasty. First, headed by Zhao Zuo, called "Su Song School"; second, headed by Shen Shichong, called "Yunjian School"; third, Gu Zhengyi and his nephews, called "Huating School of Painting".
Zhejiang School
Also known as the "Zhejiang School of painting". One of the schools of Chinese water collar painting. Dai Jin (1388~1462) painting was greatly influenced by Li Tang and Ma Yuan, took the style of the Southern Song Dynasty Painting Academy. He was good at landscape, figures, flowers and fruits, feathers, high painting art, popular for a while, learned from many scholars, gradually formed the "Zhejiang school". Wu Wei (1459~1508), a native of Jiangxia (now Wuchang, Hubei), learned with Dai even more freely. Many people tracked his painting style and formed a tributary of Zhejiang School —— "Jiangxia School". The famous painters of Zhejiang school and Jiangxia School include Zhang Lu, Jiang Sansong, Xie Shuchen, LAN Ying and so on. In the middle of the Ming Dynasty, the Wumen School of painting rose and dominated the painting world. By the end of the Ming Dynasty, the "Zhejiang School" no longer appeared in the painting world.
Huangshan school
Also known as the "Huangshan School of Painting". One of the schools of Chinese painting. In the early Qing Dynasty, Mei family in Xuancheng (now Anhui) were the direct line. They are Mei Qing, Mei Yuzhong, Mei Geng, Mei Fu, and Shi Tao who lived in Xuancheng. Shi Tao Fa in his early years, liked mountains and rivers, and repeatedly visited the scenic spots of Lushan mountain and Huangshan Mountain. For ten years in Xuancheng, he communicated with Mei Shi and Dai Benxiao. These painters, who taught both nature and the ancients, influenced each other and are famous for painting Huangshan, so they are called "Huangshan School". The Xinan School of Painting is mainly from Huangshan, so some people advocate that the Huangshan School of Painting, but the style is different from the "Huangshan School", just as Zhejiang and Cheng Sui have their own characteristics, so some people classify it into the "Huangshan School of Painting", which is really wrong.
Yu shan school
Also known as the "Yushan School of Painting". One of the schools of Chinese painting. Wang Hui, a landscape painter in the Qing Dynasty, studied Wang Jian and Wang Shimin, carefully copied the famous works of the past dynasties, and took the Song and Yuan dynasties to exchange painting skills with Yun Shouping. Emperor Kangxi once ordered him to preside over the giant painting of the "Cruising South Tour" , and gave the book "Shan Shui Qing Hui" four characters, so the reputation of the painting was famous in Kangxi period. His main students include Yang Jin, Gu Fang, Jin Xuejian, etc. Wang Hui was born in Changshu, Jiangsu Province, where Yushan was known as the "Yushan School of Painting". His ancient fashion had a great influence on the Qing Dynasty landscape painting.
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