Looking for the answer to the question of China art history

Oracle Bone Inscriptions: Mainly refers to Oracle Bone Inscriptions in Yin Ruins. It was carved (or written) on tortoise shells and animal bones by the royal family in China in the late Shang Dynasty (14 ~1century) and was used for divination. It is the earliest and most complete ancient Chinese character discovered by China.

Portrait stone: refers to the stone carving art of carving plane images on stones, which prevailed from the Western Han Dynasty to the Tang Dynasty and was more common in tombs and ancestral temples. In terms of carving techniques, there are yinxian carving, bas-relief and concave carving. The content of stone reliefs is very rich, including productive labor, historical stories, acrobatics, cycling, architecture, astronomical phenomena and so on. , with high historical and artistic value.

Portrait brick: an image brick printed by printing and molding. Portrait bricks originated in the Warring States Period and prevailed in the Han Dynasty. Most of them are used as murals in tombs, while others are used in palace buildings. Portrait bricks are mainly made by stamping and firing wooden models, and some are carved with decorative patterns on the bricks. The forms of the picture are bas-relief, concave carved lines and convex carved lines. Some have red, green and white on them. Most portrait bricks are one brick and one picture, and some are upper and lower pictures. The content of the picture is very rich, showing labor production, depicting social customs and showing the travel of the ruling class. Therefore, they are not only works of art, but also physical materials that record the social production and life at that time.

1, Xu Huang allograft.

Refers to the two camps of flower-and-bird painting in the Five Dynasties. The painting school, represented by the Western Shu Yellow Spring, is called "Royal Fu Gui" because it depicts many rare birds and exotic flowers in the palace gardens with fine painting methods and light colors. The painting schools represented by Xu Xi in the south of the Yangtze River are mainly waterfowl and wild flowers, and the painting methods are mostly pen and ink, with less colors. Compared with the style of the Yellow School, this school is called "Xu Yeyi" and "Xu Huang Yi".

2. The characteristics of Dong Yuan's landscape paintings and their influence on later generations.

Most of his landscapes are really famous mountains in the south of the Yangtze River, not strange brushstrokes. It is recorded that his landscape painting with Jiangnan scenery as the theme is "plain and naive, and there is no such thing in Tang Dynasty". Mi Fei once praised its landscape, saying, "There are mountains and mountains everywhere, and clouds are around. Not pretending to be smart is naive. " .

(1) law. In the history of landscape painting, any great change is mostly caused by painting. In the prosperous Tang Dynasty, Wang Wei "began to use the method of changing structures in shades." From then on, the landscape of the Tang Dynasty appeared. These landscape painters are mainly concentrated in the Guanshan area, and their rock lines are mainly square and hard, which depends entirely on their feelings about the local landform. This can be seen in the landscape scroll paintings and tomb murals handed down from the Tang Dynasty. During the Five Dynasties, the landscape painting style in the north was blown to the South Tang Dynasty. Therefore, the landscape painting style of Hanlin Painting Academy in South Tang Dynasty is not much different from that in North China. Dong Yuan, who is in charge of the Royal Lin Yuan, has a personal aesthetic feeling for the earth hills in the south of the Yangtze River. He spread the rolling hills in the south of the Yangtze River with loose and stretched lines, which reflected the loose and gentle landform characteristics of the earth mountains and had a peaceful and quiet intention. Therefore, the line is extremely messy, uneven in length, relaxed and natural, like hemp (scattered hemp), hence the name. The length of linen is uneven, the old man is long and the short is short. Dong Yuan's innovation in painting methods has inspired many landscape painters in the south of the Yangtze River.

(2) Modeling. Dongyuan's rock modeling is not steep, but gentle and gentle slope. Trees grow on the slopes, rivers flow under the slopes, and fishermen and tourists are dotted with vitality. On the top of the mountain in the distance, there are pieces of alum heads, that is, huge stones piled up, like the crystallization of alum. Clusters of bitter spots distinguish the shape of each alum head and spread it in parallel on the screen.

(3) composition. Mainly head-up, slightly overlooking, large depth of field, mostly taking a horizontal panoramic layout. Most of the existing ancient paintings related to Dong Yuan's painting style are long scrolls.

(4) Vegetation. The vegetation in Dong Yuan's works is the basic element of his colorful landscape, which comes from the real scene in Jiangnan. Because of the dry and rocky climate in the north, the trees on the residual soil are in sharp contrast with the bare rocks, while the air in the south of the Yangtze River is humid and the rainfall is abundant, so the vegetation is easy to cover the mountain surface with soil as the main component.

(5) artistic conception. Dong Yuan's artistic conception of landscape painting pays attention to the atmosphere of rural life and is full of interest, which is very different from Li Sixun's landscape painting which emphasizes the performance of Taoist fairyland.

Influence: The style of Jiangnan ink landscape painting initiated by Dong Yuan was spread by its master Ju Ran, forming a unique and complete artistic language structure. At the end of the Northern Song Dynasty, Mi Fei, a literati painter, first discovered the aesthetic value of Dong and Ju's landscape paintings, which were plain and interesting. After Mi Fei's son Mi Youren entered the Southern Song Dynasty, he inherited his father's demeanor and formed the pattern of "Mi Jiashan Water".

Zhao Mengfu, a famous literati painter in Yuan Dynasty, dominated the literati painting field, which made Dong and Ju's style of Jiangnan ink landscape painting highly respected. This pattern has always existed. The literati painters who rose in the Yuan Dynasty have increasingly expanded the style of ink-and-wash landscape painting in the south of the Yangtze River, especially the theory of "Southern and Northern Schools" put forward by Dong Qichang and others in the late Ming Dynasty, which listed Dong, Ju and Wang Wei in the Tang Dynasty as the ancestors of various schools of "Southern Schools".

Dong Ju's landscape painting style not only nourishes Zhao Mengfu's own landscape painting, but also shows the roots and vitality of traditional painting to Huang, Ni Zan, Wang Meng and Zhenwu (collectively known as the "four masters of Yuan Dynasty"). In the Ming Dynasty, Wu Pai, headed by Shen Zhou and Dong Qichang, was the Songjiang School, and the "Four Heavenly Kings" (Wang Shimin, Wang Jian and Wang Wei) in the early Qing Dynasty.

Lazy answer, this classmate is really lazy, there are many online, and there is no technical content at all. I think it is more troublesome to extract it, so I summarize it myself.

Technical content, wait till I'm in the mood.