The Southern School of Chinese painting, often called "literati painting" (???, wenrenhua ) , is a term used to denote art and artists as opposed to a formal school of Northern painting. The difference is not geographical, but relates to the style and content of the work, and to some extent in the artist's position. Usually, where professional and formal painters are classified as North Schools, bureaucrats who have retired from the professional world or who have never been part of it are South Schools.
According to William Watson, while the North School contains "painters who love clear and unambiguous structures in their compositions, using explicit perspective devices", Southern School "cultivates a more intimate landscape style bathed in clouds and mist, in pleasant calligraphic forms tend to take the place of conventions set for representation of rocks, trees, etc. The Southern School painter is interested in far-reaching effects, but his colleagues from the Northern School pay more attention to composition devices that achieve the illusion of recession, and at the same time more attention to closing the realism of detail... some artists floated between them.The more philosophical difference is that Southern School painters "are considered to have searched for inner reality and express their noble qualities" while the "North" merely describes the outward appearance of objects, earthly and decorative ".
There has never been a formal school of art in the sense of a training artist under one teacher in a single studio, South School is more of an umbrella term that covers a great width in both geography and chronology. Lifestyle and literary attitudes, and related painting styles, can be said to return far enough to the early period of Chinese history. However, the classification of the so-called "South School", that is, the coining of the term, is said to have been created by Dong Qichang art scholars (1555-1636), who borrowed the concept from Ch'an (Zen)) Buddhism, which also has North School and South.
Video Southern School
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Generally, Southern School painters work in black-washed ink paintings, and focus on expressive brushstrokes and a somewhat more impressionistic approach than Northern School's formal attention to detail and the use of traditional and very subtle color modes and methods. The stereotypical literary painter living in retirement in the mountains or other rural areas, is not entirely isolated, but immersed in the beauty of nature and away from worldly problems. They are also lovers of culture, hypothetically enjoying and taking part in all the Four Arts of Chinese Scholars called by Confucianism, namely painting, calligraphy, music, and skill and strategy games. They often incorporate these elements into their work, and will gather with each other to share their interests.
Literati's paintings are most often the frequent landscape of the "shanshui" ("mountain water") genre, and feature retired scholars, or travelers, admire and enjoy the scenery, or immerse in the culture. The figures are often depicted carrying or playing guqin (zithers), and living in isolated mountain hermes. Calligraphy inscriptions, both classical poetry and poetry composed by a contemporary literary (painter, or friend), are also quite common. However, while this kind of landscape, with certain features and elements, is a standard Southern School stereotypical painting, the genre is actually very varied, as the writer's own painter, in rejecting the North School's formal stricture, seeking freedom to experiment. with subject and style.
Maps Southern School
History
Although the term itself originated much later, the artists then attached to it back to at least the Tang dynasty, with a larger group of (rather confusingly) Northern Song dynasties. In the last period the tradition of literary landscape painting seems to have acquired most of the characteristics stored throughout its history, and a number of writings on the theory have survived it; The extent to which the true masterpieces by Tang or Song masters survive is still a matter of controversy. Some of the well-known names of the period between the Tang and Song periods are very high-level officials, but in later periods the landscape paintings become shelter and protest forms that are muted in their classroom for unwelcome officials, or who oppose and avoid the courts. During the Qing period (1644-1911), the classical Chinese painting canon is mainly derived from the criteria set by Dong Qichang, Mo Shilong (1537? -1587), and Chen Jiru (1558-1639). They identified two different schools: "Northern School of Painting" and "Southern School of Painting", also called "Literati Painting". They were inspired by two schools formed by the splits of Chan Buddhism during the Tang Dynasty: North Chan schools and Southern Chan schools.
Like other traditions in Chinese art, early Southern styles soon gained classical status and were imitated and imitated, with subsequent painters sometimes producing their own set of paintings with different classical artist styles. Although strongly influenced by confrontations with Western paintings of the 18th century, the style continued to be practiced until at least the 20th century.
Influence in Japan
Beginning in the 18th century, the attitude of Chinese literati (retired bureaucrats who devoted themselves entirely to cultural love) began to be taken by Japanese artists. As Japanese writers are forbidden to leave Japan, and have little access to original Chinese works (or to fulfill the literati itself), lifestyles, attitudes, and art change considerably In Japan. Beyond the inspiration of the native Japanese, this bunjin gained Chinese influence only through wood-printed artworks that sought to reproduce and communicate Southern School ideals and methods. The Southern School (C: nanzhonghua , J: nansh? Ga ) became known as nanga in Japan. Japanese literary painters have a variety of social backgrounds (feudal lords and their followers, samurai, merchants, and even fishermen), though they imitate the lifestyle of Chinese poets.
Literati
The scholars, civil servants, or the Imperial Chinese writers, where all were educated in Confucianism known as the School of Literati. In early China this term refers to the class of people who undergo traditional Chinese education. There is a set of Chinese civil service examinations, including Chinese literature and philosophy. Passing the exam is a requirement for many government positions. These people are mandarin, and refer to those in positions of government.
Artists selected from note
- Wang Wei (?? 699-759)
- Dong Yuan (??, mid-10th century)
- Huang Gongwang (???, 1269-1354)
- Ni Zan (??, 1301-74)
- Wu Zhen (??, 1280-1354)
- Wang Meng (??, 1308-85)
- Shen Zhou (??, 1427-1509)
- Wen Zhengming (???, 1470-1559)
See also
- Chinese Paintings
- Wu School - a group at the Southern School
- Zhe School - a group in the South School
- Nanga (Japanese painting)
Note
References
- Farrer, Anne, in Rawson, Jessica (ed). Book of the British Museum of Chinese Art , 2007 (edn 2), British Museum Press, ISBN 9780714124469
- JAANUS - Nanshuuga
- Meccarelli, Marco. "Chinese Painters in Nagasaki: Style and Artistic Contaminatio during the Tokugawa Period (1603-1868)" in Ming Qing Studies 2015
pp.a, 175-236.
- Sickman, Laurence, in: Sickman L. & amp; Soper A., ​​â € <â € < Chinese Art and Architecture , Pelican History of Art, 3rd ed. 1971, Penguin (now Yale History of Art), LOC 70-125675
- Watson, William, Style in Chinese Art , 1974, Penguin, ISBNÃ, 0140218637
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