On The Empty Beauty Of Ni Zan’s Landscape Painting

Among the "Yuan Four Families",Ni Zhan’s personality is the strongest,different from the complex pen and ink and conventional composition forms of Wang Meng and Huang Gongwang,nor is it as inky as Wu Zhen,he has made a large number of cuts to pen and ink and only made "two banks of a river" composition,so his paintings are simple,loose and scattered.Since the Song Dynasty entered the Yuan Dynasty,the overall style and form of landscape painting have undergone great changes,from the original heavy theory method to heavy lyricism,replacing the original neat,rigorous,complex these characteristics and replacing it with casualness,freedom,and simplicity.Ni Zhan’s paintings are the product of this environment,and under the guidance of his "Yi Pen Rush" painting thought,he has brought the loose and loose atmosphere of Yuan painting to the extreme,forming his unique "empty beauty".Starting from the guidance and change of Taoist thought on the thinking of literati under the special social environment of the Yuan Dynasty,this paper analyzes the reasons for the formation of Ni Zhan’s "empty" style by analyzing Ni Zhan’s absorption of Zhao Mengfu’s "painting with books" painting thought,as well as Ni Zhan’s own thoughts,personality and emotions.Then,through the three aspects of brush and ink,composition and imagery in the specific works,the specific embodiment of the "empty beauty" in Ni Zan paintings is pointed out.Finally,through the analysis of the artistic conception in his paintings,he understands the connotation of "empty beauty",and summarizes the inheritance and development of Ni Zan landscape style by Ming and Qing painters.