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Ming dynasty painting
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Ming dynasty painting
During the Ming dynasty (1368–1644), Chinese painting progressed further basing on the achievements in painted art during the earlier Song dynasty and Yuan dynasty. The painting techniques which were invented and developed before the Ming period became classical during this period. More colours were used in painting during the Ming dynasty. Seal brown became much more widely used, and even over-used during this period. Many new painting skills or techniques were innovated and developed, calligraphy was much more closely and perfectly combined with the art of painting. Chinese painting reached another climax in the mid and late Ming. The painting was derived in a broad scale, many new schools were born, and many outstanding masters emerged.
About 1368–1505, from the Hongwu era (洪武) to Hongzhi era (弘治).
The painting schools of the Yuan dynasty still remained in the early Ming period but quickly declined or changed their styles. The painting styles which were developed and matured during the Yuan period, still heavily influenced the early Ming painting. But new schools of painting were born and grew. Zhe School and the school which was supported by the royal court (Yuanti School) were the dominant schools during the early Ming period. The scholar-artist style of painting (Renwen Painting, in Chinese: 人文畫) became more popular. Both these two new schools were heavily influenced by the traditions of both the Southern Song painting academy and the Yuan scholar-artist.
About 1465–1566, from the Chenghua era (成化) to Jiajing era (嘉靖).
Classical Zhe School and Yuanti School declined. Wu School became the most dominant school nationwide. Suzhou, the activity center for Wu School painters, became the biggest center for the Chinese painting during this period.
The Wu painters they mainly inherited the tradition of Yuan scholar-artist style of painting (Renwen painting, 人文畫) and further developed this style into a peak. Wu School was a large group of people, including teacher-student relationship (e.g. Shen Zhou was the teacher of Tang Yin, Wen Zhengming and so on) and family relationship (e.g. Wen family, including painters Wen Zhengming, Wen Jia (文嘉), Wen Boren (文伯仁) and so on).
Xu Wei (徐渭) from Shaoxing, Zhejiang Province developed the "enjoyable style" of Chinese painting (Xieyi, 寫意畫) considerably, especially the "great enjoyable style" (Daxieyi, 大寫意). As an outstanding scholar, his accomplishments are mainly in the field of scholar-artist painting, especially in bird-and-flower painting.
Chen Chun (陳淳) followed the teaching from Wu School of painting during his early years and then developed his own "enjoyable" style in Shan shui painting (landscape painting, 山水畫).
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Ming dynasty painting
During the Ming dynasty (1368–1644), Chinese painting progressed further basing on the achievements in painted art during the earlier Song dynasty and Yuan dynasty. The painting techniques which were invented and developed before the Ming period became classical during this period. More colours were used in painting during the Ming dynasty. Seal brown became much more widely used, and even over-used during this period. Many new painting skills or techniques were innovated and developed, calligraphy was much more closely and perfectly combined with the art of painting. Chinese painting reached another climax in the mid and late Ming. The painting was derived in a broad scale, many new schools were born, and many outstanding masters emerged.
About 1368–1505, from the Hongwu era (洪武) to Hongzhi era (弘治).
The painting schools of the Yuan dynasty still remained in the early Ming period but quickly declined or changed their styles. The painting styles which were developed and matured during the Yuan period, still heavily influenced the early Ming painting. But new schools of painting were born and grew. Zhe School and the school which was supported by the royal court (Yuanti School) were the dominant schools during the early Ming period. The scholar-artist style of painting (Renwen Painting, in Chinese: 人文畫) became more popular. Both these two new schools were heavily influenced by the traditions of both the Southern Song painting academy and the Yuan scholar-artist.
About 1465–1566, from the Chenghua era (成化) to Jiajing era (嘉靖).
Classical Zhe School and Yuanti School declined. Wu School became the most dominant school nationwide. Suzhou, the activity center for Wu School painters, became the biggest center for the Chinese painting during this period.
The Wu painters they mainly inherited the tradition of Yuan scholar-artist style of painting (Renwen painting, 人文畫) and further developed this style into a peak. Wu School was a large group of people, including teacher-student relationship (e.g. Shen Zhou was the teacher of Tang Yin, Wen Zhengming and so on) and family relationship (e.g. Wen family, including painters Wen Zhengming, Wen Jia (文嘉), Wen Boren (文伯仁) and so on).
Xu Wei (徐渭) from Shaoxing, Zhejiang Province developed the "enjoyable style" of Chinese painting (Xieyi, 寫意畫) considerably, especially the "great enjoyable style" (Daxieyi, 大寫意). As an outstanding scholar, his accomplishments are mainly in the field of scholar-artist painting, especially in bird-and-flower painting.
Chen Chun (陳淳) followed the teaching from Wu School of painting during his early years and then developed his own "enjoyable" style in Shan shui painting (landscape painting, 山水畫).
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