In the world of painting, the Sui and Tang dynasties can be called a prosperous and glorious historical chapter. During this period, the art of Chinese painting experienced a major development, from the Sui Dynasty to the Tang Dynasty, which became a historical turning point in the history of painting. Let's take a journey back in time and delve into this breathtaking journey through art.
In the Sui and Tang dynasties, painters such as Zheng Fashi, Zheng **, Dong Boren, etc., became dazzling stars on the art stage. The Tang Dynasty produced many famous artists, who were as brilliant as the stars, making this period one of the pinnacles in the history of Chinese painting. In this splendid and colorful picture scroll, we find the early Tang Dynasty figure painters Yan Lide and Yan Liben brothers, the Tang Dynasty "painting saint" Wu Daozi, the ladies and children painters Zhang Xuan and Zhou Fang, the landscape painters Li Sixun, Li Zhaodao and Wang Wei, and the animal painters Han Gan and Han Rong, etc., each contributing a unique artistic style.
The paintings of the Tang Dynasty not only reached the pinnacle of artistic expression, but also reflected the peak of the country's comprehensive strength. During this period, people's enthusiasm for creation was unprecedentedly high, and painting became an important way to record and inherit painting theory. Painting theorists such as Pei Xiaoyuan, Zhang Qi, Zhang Yanyuan, and Jing Hao conducted in-depth research on the art of painting, put forward many aesthetic views and propositions on painting, and made positive contributions to the comprehensive maturity of painting art.
The variety of paintings has also become the highlight of this period. From a purely theoretical point of view, the essential laws of painting art, focusing on a specific type of painting, or focusing on the color of painting, painting presents a variety of phenomena in form and content. With the help of the form of fu, the painters present their enthusiasm and thinking for painting to the audience in a more profound way, so that the art of painting gradually matures from practice to theory.
In the development of landscape painting in the Tang Dynasty, the revolution of artistic language became a bright spot. The substitution of green and green in the form of ink and wash brought the achievements of Tang Dynasty landscape painting to a new height. Landscape painting has become a medium to express the artist's theories and opinions, and Jing Hao's "Painting Landscape Fu" is one of the most representative. With his rich painting skills and experience, Jing Hao elaborated on many elements in the art of painting, from the proportion of scenery to perspective skills, from experience to specific techniques, which are presented to readers one by one.
This essay not only records Jing Hao's personal style as a painter, but also shows his theories and insights as a painting aesthete from multiple perspectives. It is his consistent proposition to emphasize that the painter must have a full understanding of the content of the painting before painting. He not only gave a detailed explanation of the specific techniques, but also led to an in-depth analysis of the artistic conception and connotation, which made a positive contribution to the development of painting theory at that time.
In the Tang Dynasty, the exploration of the theory of landscape painting became enthusiastic. From Gu Kaizhi's "Painting Yuntai Mountain" to Zong Bing's "Painting Landscape Preface", and then to Wang Wei's "Narrative Painting" in the Liu Song Dynasty, the theory has been deepened, enriching the aesthetic pursuit of landscape painting. Jing Hao's Painting of Landscapes stood out during this period and became a treasure of painting theory.
The Sui and Tang dynasties were the pinnacle of Chinese painting art, and the efforts of various painters and theorists led to the all-round development of painting art. During this period, the painting was a part of the development of painting theory, which showed a variety of phenomena in form and content.
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