This is the classroom test of "Pen and ink painting" in the eighth lesson of compulsory three in high school history of Yuelu Edition.

Supplementary information:

Palace painting:

Palace painting refers to the painting creation serving the feudal emperors and is an important part of court culture. The special painting institution of the imperial court began in the Five Dynasties, namely the Hanlin Painting Academy. The Hanlin Painting Academy in the Northern Song Dynasty reached an unprecedented grand occasion. During the Jin and Yuan Dynasties, the palace painting institutions were relatively scattered and performed their duties.

The court painters in Ming Dynasty worked in Wuying Hall and Renzhi Hall respectively, while the court painting institutions in Qing Dynasty were mainly Ruyi Hall. The exquisite brilliance of Chinese painting was in the Song Dynasty, with the emperor leading the aesthetic trend of pen and ink, the imperial examination as the driving force, "painting" as the basis and literary works as the creative theme. This is the most commendable period for the traditional pen and ink form and cultural connotation of Chinese painting.

The Song Dynasty was the heyday of court painting in China's art history. The painting academy is large in scale, complete in organizational system and strong in creativity. In the direction of creation, the political education of court art is less and less, with ornamental landscapes and flower-and-bird paintings as the main ones. On the one hand, it is caused by the in-depth cultural transformation; on the other hand, the royal family of Song Dynasty, as the monarch, has played an important role in creative activities, resulting in an upward effect.

Although the most important officially compiled aesthetic work "Painting Spectrum of Xuanhe", which represents the Northern Song Dynasty, still puts Taoism and figures in the first place, its quantity and center have turned to the seclusion of mountains and rivers and the pleasure of flowers and birds. Deng Chun's "Biography of Pictures" even pointed out that "modern painters lacked story characters, which was quite different from the ancients' intention."