It was formed in Wei, Jin, Southern and Northern Dynasties, but it has not been completely separated from figure painting. Independent in the Sui and Tang Dynasties and mature in the Five Dynasties and the Northern Song Dynasty, it became an important branch of Chinese painting. Traditionally, it is divided into green landscape, golden landscape, ink landscape, light crimson landscape, small green landscape and boneless landscape according to painting style.
Landscape painting first appeared as the background of figure painting, and Gu Kaizhi, a painter in the Eastern Jin Dynasty, can see its face by copying it with the map of Luo Shenbin, which has a strong decorative style. With the appearance of landscape painting, Zong Bing's Preface to Painting Landscape and Wang Wei's Painting Spectrum in the Southern Song Dynasty can be said to be the earliest works of traditional landscape painting in China, which undoubtedly contributed to the development of landscape painting at that time. In particular, Wang Wei used poetry to create artistic conception other than simple lyricism. . Firstly, he used the splash-ink landscape technique, which greatly developed the interest and artistic conception of landscape painting, made great contributions to the transformation of landscape painting, and then prepared the conditions for the maturity of landscape painting.
From the Five Dynasties to the Song Dynasty, the development of landscape painting was mature and perfect, and it was also the heyday of China's landscape painting, with many famous artists. In the north, Hao Jing and Guan Tong are representatives. They have a strong understanding and feeling of the majestic natural mountains and rivers in the north that they have been in contact with for a long time. In the south, Dong Yuan, Ju Ran and others are representatives. Compared with the magnificent landscapes in the northern scenery and Guan paintings, their paintings are more beautiful and lyrical, and the landscape paintings are both green and ink. He is especially good at ink and wash landscapes, combining rubbing, rubbing, lighting and dyeing, and creating expressions such as horses and canopies. Their characteristics formed two different styles and painting schools, which reflected the great achievements of landscape painting in this period. In fact, this is also a change of China landscape painting since the Sui and Tang Dynasties. Gu Cheng, Fan Kuan, Guo, Mi Fei and Mi Youren made outstanding achievements in the Song Dynasty. The Southern Song Dynasty was represented by Li Tang, Liu Songnian, Ma Yuan and Xia Gui.
With the development of history, Zhao Meng, a painter in the Yuan Dynasty, completed another transformation of (Huang, Zhenwu, Ni Zan and Wang Meng), which is another major development of China's landscape painting. They moved the brush from Junsu to paper, which further developed the expression of pen and ink. The brushwork of the four schools has changed from shallow to deep, and the method of first drying and then moistening for many times has become an important expression method of landscape painting. The subjective aspect of their creation is strengthened, and the description of scenery means writing feelings and freehand brushwork, which lays the foundation for literati landscape painting and is also the key to this change.
Once again, it was the middle and late Ming Dynasty and the early Qing Dynasty, which was a turbulent era of regime change, but a number of powerful painters had emerged. In the mid-Ming Dynasty, Shen Zhou and Wen pioneered the expression methods of symbolic figures in landscape painting, with outstanding performances in the early Qing Dynasty, such as Shi Tao, You Can, Gong Xian and Hong Ren. Zhu Da and Shi Tao are the most outstanding representatives.
As a landscape painting, a modern change was in the late Qing Dynasty, the early Republic of China and after the founding of the People's Republic of China. The characteristic of this period is that on the basis of absorbing predecessors' traditions, it pays attention to sketching, absorbs foreign techniques and is not bound by traditional concepts. This period is represented by modern Lingnan painting school and painters such as Gao, Zhou, Chen in the early liberation. In art, they advocated Zhang's eclectic study of oriental painting between the East and the West, thus sprouting the idea of reforming Chinese painting. In fact, they tried to learn from western painting in the middle of Qing Dynasty, such as ShiNing Lang and Lu Wei. They achieved great success, but they did not cause much sensation at that time.
Looking at the development history and changes of China landscape painting, we can see that landscape painting needs to be developed, and we must study and inherit the tradition seriously. We must face nature, observe and experience in life. The creative method of landscape painting is not to imitate nature mechanically, but to depict nature dialectically. This process is a combination of reality and ideal, and it is an experience that comes from life and is higher than life. Under its guidance, painters of past dynasties have created a large number of excellent works, which reflect different times and different personal mental outlook, and are spectacular and far-sighted. May we improve the use of pen and ink and invent.