The Formation Of The Southern Tang Jiangnan Painting Ink Characteristics

The painting of South Tang Dynasty takes a considerable place in the history of Chinese painting. The South Tang Dynasty includes the three empires of Li Sheng, Li Jing and Li yu, and lasts for 39 years. Because of the political origin of Li Tang, most of its political systems follow the patterns of Tang Dynasty. This period has given birth to many famous painters, such as Xu Xi, Dong Yuan, Ju Ran, Wei Xian, Gu Hongzhong, Zhou Wenju, and Cao Zhongxian. In Chinese landscape painting, the painters in the South Tang Dynasty mostly inherited the tradition of Tang Dynasty, represented by Wu Daozi and Wang Wei. Hence they influence the latter painting style drastically. Mi Fu has mentioned about the concept of"paintings of South of the River"for many times in his work History of Painting. This thesis aims to explore the cause to form the paintings of South of the River in North Tang Dynasty and its significance in inheriting the tradition of Tang Dynasty and opening the style of Song Dynasty.Four parts are divided and the details are exposed as follows:Chapter One: the ideology of South Tang Dynasty and the background to form the"Painting of the South River".The first part generalizes the historical events that Li Sheng's establishment of the South Tang Dynasty, and his identity as the descendent of Tang Dynasty, inheriting Tang Dynasty's system and collecting widely the books of the previous dynasties. Both the next empires Li Jing and Li Yu had a high taste in aesthetics, leading to a prosperity in painting and literature.The second part further offers a generalization about the geographical features of South Tang Dynasty, trying to get a comprehension towards the true works of the landscape paintings in the South Tang Dynasty and list the scenic spots in South Tang Dynasty areas.The 3rd part illustrates the long painting history since the Six Dynasties in the Wu Area, especially the creative spirit to practice earliest and most perfectly the"Six Principles"in figure paintings.Chapter Two: The"Paintings of South River"during the South Tang Dynasty originated the consciousness as the literati to paint. The 1st part generalizes the cultural environment of the South Tang Dynasty, thus leading to the conclusion that the"Paintings of South River"during the South Tang Dynasty originated the consciousness as the literati to paint. It may reveal itself in the literature characters in the purposes and the forms, especially during the Li Yu period, when the blend of poetry and painting got its momentum.The 2nd part sets Wei Xian as an example to illustrate that under the cultural environment of the South Tang Dynasty and the impact of Li Yu,"Jie painting"made a great breakthrough, and it made Wei's paintings as the highest level in Chinese cottage and tree painting.Chapter Three: The painting aesthetics of"peace and innocence"established by the"Paintings of South of River".The 1st part generalizes Dong Yuan's position change in the articles by Song people, through which we can find that Mi Fu plays an important influence to Dong's rediscovery. The second part generalizes the"South School & North School"theory by painters in Ming and Qing Dynasty. As a result, we can see how Dong Yuan is elected as the creator of the South school, and the characteristics owned by"Paintings of South River"The third part discusses that Dong Yuan inherited the way to paint in the Tang Dynasty by Zhang Zao and Wang Wei, especially in his painting Waiting for Boat around the Mountain in Summer. Dong's way to paint the stones was transferred from his imagination of the way to paint the water, linking internally to Gu Kaizi.The forth part compares Dong's painting Bank of the Stream with Ju Ran's Resting in the Mountains. From the similarities, we then talk about the question that how Dong described the real mountains.The fifth part tries to learn clearly that to what extent that Ju Ran inherited Dong's spirit and techniques of painting, as well as Ju's breakthrough. Dong and Ju's influence in the history of painting relies mostly on Ju's"Smog Landscape".Chapter Four: South Tang's"Paintings of South River"established the character of painting and calligraphy that centred with stokes and ink.The first part talks about the importance held by the public towards the calligraphy in South Tang Dynasty. Li Yu was excellent in poetry, painting and calligraphy, leading the style of South Tang Dynasty. Besides, the great value of the tools to paint is also included so as to speak together with the previous two facets the centre of Li Yu, who set up the characters of the strokes and ink in"Painting of South River". This character emphasizes a lot on"elegance, mild, graceful, peaceful", and the blend with calligraphy. Especially to Tang Xiya and Zhou Wenju, Li Yu influenced greatly.The 2nd part generalizes the life of Xu Xi, who was the descendent of the empire of South Tang.The 3rd part generalizes the style of Xu Xi. By analyzing his"ink flowers", Xu's paintings focus more on strokes and ink compared to Huang Quan, and own his special taste.The 4th part analyzes the statements towards strokes and ink by painters from each period. Thus we can confirm again that during the Five Periods, the taste of strokes and ink is stimulated and the painters of this time made a great contribution to the completion of landscape painting.