{"id":502,"date":"2021-11-16T04:08:13","date_gmt":"2021-11-16T04:08:13","guid":{"rendered":"https:\/\/cinioentraduko.com\/?p=502"},"modified":"2021-11-16T04:08:13","modified_gmt":"2021-11-16T04:08:13","slug":"fu-baoshi-reviewing-traditional-chinese-painting-since-the-establishment-of-the-republic-of-china","status":"publish","type":"post","link":"https:\/\/cinioentraduko.com\/zh\/2021\/11\/16\/fu-baoshi-reviewing-traditional-chinese-painting-since-the-establishment-of-the-republic-of-china\/","title":{"rendered":"Fu Baoshi \u5085\u62b1\u77f3: Reviewing Traditional Chinese Painting since the Establishment of the Republic of China \u6c11\u56fd\u4ee5\u6765\u56fd\u753b\u4e4b\u53f2\u7684\u89c2\u5bdf"},"content":{"rendered":"

Translated by Jiren Liu, Lei Hou, Wenying Pan, Lu Zong, Ziyue Ding & Xiao Liang<\/p>\r\n

Please see the PDF version of this text here<\/a>\u00a0for footnotes.<\/em><\/p>\r\n\r\n

\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n
Reviewing Traditional Chinese Painting since the Establishment of the Republic of China <\/b><\/div>\r\n<\/td>\r\n
\r\n
\u6c11\u56fd\u4ee5\u6765\u56fd\u753b\u4e4b\u53f2\u7684\u89c2\u5bdf<\/span><\/b><\/div>\r\n<\/td>\r\n<\/tr>\r\n
\r\n

I: The Literati in Traditional Chinese Painting<\/b><\/p>\r\n<\/td>\r\n

\r\n

\u4e00\u3001\u4e2d\u56fd\u753b\u7684\u6587\u4eba\u753b <\/strong><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

A Chinese understanding of art is still (very much) influenced by Confucianism and Taoism, both of which have a history of several thousand years. To this day, this understanding cannot be said to have significantly changed. Although the Western trend (yangfeng<\/em> \u6d0b\u98ce) has been influential for some years now, its influence cannot be considered more than largely superficial. Chinese painters carefully maintain everything that is traditional and conventional. The history of traditional Chinese painting therefore, is most clearly characterised by the ambiguity of technique, resulting in the concealment of the reasons intrinsic to such ambiguity. What\u2019s more, there is not much more than a few biographies of painters and some stories of the painting world to go by. Before June of the 26th<\/sup> year of the Republic, this situation is not much changed.[1]<\/a><\/p>\r\n<\/td>\r\n

\r\n

\u4e2d\u56fd\u7684\u827a\u672f\u601d\u60f3\uff0c\u8fd8\u662f\u53d7\u7740\u51e0\u5343\u5e74\u524d\u7684\u5112\u5bb6\u9053\u5bb6\u601d\u60f3\u7684\u652f\u914d\uff0c\u76f4\u81f3\u4eca\u65e5\uff0c\u6216\u4ea6\u4e0d\u80fd\u8bf4\u6709\u4e86\u591a\u5927\u7684\u53d8\u5316\u3002\u867d\u7136\u6d0b\u98ce\u5df2\u5439\u4e86\u82e5\u5e72\u5e74\uff0c\u4f46\u5927\u591a\u6570\uff0c\u8fd8\u53ea\u662f\u8868\u9762\uff0c\u53ea\u662f\u67d0\u79cd\u6781\u5c0f\u9650\u5ea6\u7684\u8868\u9762\uff0c\u5bf9\u4e8e\u4f20\u7edf\u7684\u4e00\u5207\uff0c\u53ef\u8c13\u4f9d\u7136\u6545\u6211\uff0c\u7ef4\u62a4\u5f97\u76f8\u5f53\u5468\u5bc6\u7684\u3002\u6240\u4ee5\u4e2d\u56fd\u753b\u7684\u5386\u53f2\uff0c\u53ea\u6709\u6280\u6cd5\u4e0a\u7684\u6b67\u4e49\uff0c\u8868\u73b0\u7684\u6700\u660e\u663e\uff0c\u56e0\u6b64\u5c31\u628a\u6240\u4ee5\u6b67\u4e49\u7684\u5185\u5728\u539f\u56e0\u906e\u6ca1\u4e86\u3002\u6b64\u5916\u53ea\u662f\u4e9b\u753b\u4eba\u7684\u4f20\u8bb0\uff0c\u548c\u753b\u575b\u7684\u6545\u4e8b\uff0c\u6b64\u5916\u4fbf\u6ca1\u6709\u4ec0\u4e48\u3002\u8fd9\u79cd\u60c5\u5f62\uff0c\u5728\u6c11\u56fd\u4e8c\u5341\u516d\u5e74\u516d\u6708\u4ee5\u524d\uff0c\u7edd\u65e0\u4f8b\u5916\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Traditional Chinese paintings developed along two distinctive paths; the Northern School (beizong<\/em> \u5317\u5b97), also known as professional painting (zuojia hua<\/em> \u4f5c\u5bb6\u753b) and the Southern School (nanzong<\/em> \u5357\u5b97), also known as literati painting (wenren hua<\/em> \u6587\u4eba\u753b). We have no choice but to take these as our starting points. Faced with this situation, by the time we arrive at the Southern School period, tedium and exasperation is the general feeling\u2026and yet no one is able to come up with solutions to push the boundaries (sifanwei<\/em> \u6b7b\u8303\u56f4). The Southern School and new schools (liupai<\/em> \u6d41\u6d3e) were established as the field diverged into schools (liupai hua<\/em> \u6d41\u6d3e\u5316) . After the Yuan dynasty, the situation changed a little bit. But literati painting, the so-called Southern School, which accorded more with traditional understandings, replaced professional painting, the so-called Northern School. Among Wen, Shen, Tang and Qiu from the Ming dynasty, and the Four Wangs, Yun and Wu from the Qing dynasty, none of them could ever deny the fact that he was from a school after the further divergence of literati painting.[2]<\/a> In brief, the new schools of literati painting have dominated traditional Chinese painting for two hundred years. They are frighteningly powerful. Even Japanese painting has also been influenced by their dominancy since the Muromachi period. We could never say the reason was not that Japanese people inscribed the Analects of Confucius and other Classics (jingshu<\/em> \u7ecf\u4e66) in the 13th<\/sup> century, although Japanese people are mercurial.<\/p>\r\n<\/td>\r\n

\r\n

\u4e2d\u56fd\u753b\u4e24\u6761\u4e0d\u540c\u7684\u9053\u8def\uff0c\u5357\u5b97\u5317\u5b97\uff0c\u4f5c\u5bb6\u753b\u6587\u4eba\u753b\uff0c\u4f5c\u4e0d\u5f97\u5df2\u7684\u8fdb\u5c55\u3002\u56e0\u4e3a\u5982\u6b64\uff0c\u5230\u4e86\u5357\u5b97\u7684\u65f6\u5019\uff0c\u4fbf\u5927\u5bb6\u90fd\u611f\u7740\u75b2\u5026\uff0c\u4e4f\u5473\uff0c\u7275\u5f3a\uff0c\u2026 \u2026 \u2026\uff0c\u800c\u540c\u65f6\u53c8\u60f3\u4e0d\u51fa\u8d85\u8d8a\u6b7b\u8303\u56f4\u7684\u529e\u6cd5\u3002\u4e8e\u662f\u5357\u5b97\u4e5f\u597d\uff0c\u5317\u5b97\u4e5f\u597d\uff0c\u81ea\u7136\u7684\u5f62\u6210\u4e86\u4e00\u79cd\u300c\u6d41\u6d3e\u300d\u800c\u6d41\u6d3e\u5316\u3002\u81ea\u5143\u4ee3\u4ee5\u540e\uff0c\u56fa\u7136\u7a0d\u7a0d\u6362\u4e86\u6362\u9762\u76ee\uff0c\u4f46\u4e0d\u8fc7\u662f\u6587\u4eba\u753b\u2014\u2014\u5047\u5b9a\u5357\u5b97\u2014\u2014\u66f4\u5408\u4e4e\u4f20\u7edf\u7684\u601d\u60f3\uff0c\u628a\u9662\u4f53\u2014\u2014\u5047\u5b9a\u5317\u5b97\u2014\u2014\u6253\u5012\u4e86\u800c\u5df2\u3002\u660e\u4ee3\u7684\u6587\u6c88\u5510\u4ec7\uff0c\u6e05\u4ee3\u7684\u56db\u738b\u607d\u5434\uff0c\u8c01\u53c8\u4e0d\u662f\u6587\u4eba\u753b\u6d41\u6d3e\u5316\u540e\u7684\u5c0f\u6d41\u6d3e\u5316\uff1f\u7f29\u77ed\u4e00\u70b9\u8bf4\uff0c\u4e8c\u767e\u5e74\u6765\u7684\u4e2d\u56fd\u753b\uff0c\u90fd\u88ab\u6d41\u6d3e\u5316\u7684\u6587\u4eba\u753b\u6240\u652f\u914d\u3002\u8fd9\u79cd\u52bf\u529b\uff0c\u8bf4\u8d77\u6765\u602a\u53ef\u6015\u3002\u65e5\u672c\u8db3\u5229\u65f6\u4ee3\u8d77\uff0c\u4e5f\u88ab\u5b83\u5f81\u670d\u5f97\u5229\u5bb3\uff0c\u867d\u7136\u65e5\u672c\u4eba\u5584\u53d8\uff0c\u7136\u6211\u4eec\u4e0d\u80fd\u8bf4\u4e0d\u662f\u5341\u4e09\u4e16\u7eaa\u65e5\u672c\u520a\u523b\u8bba\u8bed\u7b49\u7ecf\u4e66\u7684\u539f\u56e0\u5427\uff1f<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Objectively speaking, literati painting indeed typifies traditional Chinese painting. Its long and rich history is something European painting could compare with. Chinese people\u2019s faith is unshakeable, regardless of reactionaries, because traditional Chinese painting is rooted within their hearts. To some extent, it has a fixed style, which makes everyone who sees it experience the sensation of \u201cspiritually traveling in an ancient painting\u201d (shenyou yu guhua<\/em> \u795e\u6e38\u4e8e\u53e4\u753b). Most of the painters simply copied this style. Strictly speaking, since the emergence of the Southern School, there was no innovation of style; it was only a matter of proficiency. It had nothing to do with self-expression but rather following the \u201cformula\u201d. Some advocated the \u201cink and brush stroke\u201d (bimo<\/em> \u7b14\u58a8), the \u201cnative sensibility and natural wit\u201d (xingling\u00a0<\/em>\u6027\u7075) and so forth, but where can we find any of them when painters shut themselves in a room painting in the ancient style?[3]<\/a><\/p>\r\n<\/td>\r\n

\r\n

\u5ba2\u89c2\u7684\u770b\u770b\uff0c\u6587\u4eba\u753b\u7684\u786e\u662f\u4ee3\u8868\u4e2d\u56fd\u7684\u7ed8\u753b\u3002\u5b83\u7684\u6e90\u8fdc\u6d41\u957f\uff0c\u7b80\u76f4\u975e\u540e\u8d77\u7684\u6b27\u6d32\u7ed8\u753b\u53ef\u6bd4\uff01\u56e0\u4e3a\u5b83\u6293\u4f4f\u4e86\u4e2d\u56fd\u4eba\u7684\u5fc3\uff0c\u4efb\u4f55\u53cd\u52a8\u7684\u52bf\u529b\u3002\u90fd\u4e0d\u80fd\u6709\u6240\u6447\u52a8\uff0c\u6709\u6240\u6539\u53d8\u3002\u5b83\u5177\u5907\u67d0\u79cd\u7a0b\u5ea6\u7684\u56fa\u5b9a\u6837\u5f0f\uff0c\u53ea\u8981\u4f60\u89c1\u7740\u5b83\uff0c\u4fbf\u4f1a\u8d77\u4e00\u79cd\u201c\u795e\u6e38\u4e8e\u53e4\u753b\u201d\u7684\u5171\u9e23\u3002\u5927\u591a\u6570\u753b\u4eba\uff0c\u65e0\u975e\u662f\u8fd9\u4e9b\u201c\u6837\u5f0f\u201d\u7684\u590d\u5236\uff0c\u518d\u4e25\u683c\u7684\u8bf4\uff0c\u81ea\u5357\u5b97\u4ee5\u6765\uff0c\u6587\u4eba\u753b\u5bb6\u53ea\u6709\u6280\u5de7\u7684\u719f\u4e0e\u4e0d\u719f\u7684\u95ee\u9898\uff0c\u6ca1\u6709\u65b0\u6837\u5f0f\u7684\u521b\u9020\u3002\u53ea\u6709\u201c\u516c\u5f0f\u201d\u7684\u7ec3\u4e60\uff0c\u6ca1\u6709\u81ea\u6211\u7684\u6292\u5199\u3002\u4e00\u90e8\u5206\u4eba\u867d\u63d0\u201c\u7b14\u58a8\u201d\uff0c\u201c\u6027\u7075\u201d\u7b49\u53e3\u53f7\uff0c\u8bd5\u95ee\u8eb2\u5728\u6597\u5ba4\u4e4b\u4e2d\uff0c\u4e0b\u7b14\u5373\u4e3a\u53e4\u4eba\u6240\u56ff\uff0c\u6709\u4ec0\u4e48\u201c\u7b14\u58a8\u201d\uff0c\u201c\u6027\u7075\u201d\u5462\uff1f<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

In conclusion, traditional Chinese painting is centripetal (qiuxin zhuang<\/em> \u6c42\u5fc3\u72b6), because painters explore towards the center. After such a long time immersed in exploration, Chinese painters may bump their heads up against each other\u2019s. Therefore, when they meet, they give knowing smiles, sharing a tacit understanding.<\/p>\r\n<\/td>\r\n

\r\n

\u57fa\u4e8e\u4e0a\u9762\u7684\u8bba\u8ff0\uff0c\u4e2d\u56fd\u753b\u662f\u201c\u6c42\u5fc3\u72b6\u201d\u7684\uff0c\u4ece\u5916\u5411\u5185\u9762\u94bb\u3002\u94bb\u7684\u592a\u4e45\u81ea\u7136\u4f1a\u5934\u78b0\u5934\u3002\u6240\u4ee5\u4e2d\u56fd\u753b\u4eba\u7684\u76f8\u5bf9\uff0c\u552f\u6709\u6765\u4e00\u4e2a\u4f1a\u5fc3\u7684\u5fae\u7b11\uff0c\u5f7c\u6b64\u5fc3\u7167\u4e0d\u5ba3\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Under such circumstances, traditional Chinese painting repetitively \u201cchews up\u201d the ancient \u201cleftovers\u201d.<\/p>\r\n<\/td>\r\n

\r\n

\u4e2d\u56fd\u753b\u4fbf\u5728\u8fd9\u79cd\u72b6\u6001\u4e2d\uff0c\u53cd\u590d\u7684\u5480\u56bc\u53e4\u4ee3\u7684\u6b8b\u4f59\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

There are several necessary norms in literati painting.<\/p>\r\n<\/td>\r\n

\r\n

\u4f5c\u6587\u4eba\u753b\uff0c\u8981\u6709\u5fc5\u9700\u7684\u51e0\u4e2a\u6761\u4ef6\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

A large amount of discussion about these norms has emerged in the painting theory of the Qing dynasty. Chen Shizeng stated in his article, The Value of Chinese Literati Painting<\/em> (see also Research<\/em> on Chinese Literati Painting<\/em>), that there were three requirements for literati painters: Firstly, painters ought to have moral character (renpin <\/em>\u4eba\u54c1). Secondly, they should be talented (tiancai<\/em> \u5929\u624d). Thirdly, they need to be knowledgeable (xuewen<\/em> \u5b66\u95ee).[4]<\/a> According to Yang Ziyun\u2019s statement that \u201cpainting reflected real thoughts from one\u2019s heart\u201d, as well as Deng Chun’s statement that \u201cpainters with poor literary skills were most unlikely to successfully produce literati painting even though they were familiar with painting techniques\u201d, we can see that the painting theory suggested by Chen Shizeng was not without reason.[5]<\/sup><\/a> After the Yuan dynasty, Chinese people have preferred to regard painting as the painters\u2019 spirit, a representation of their personality and thoughts, considering painting as a pure art. Thus, painting is perceived to be invaluable.<\/a><\/p>\r\n<\/td>\r\n

\r\n

\u6e05\u4ee3\u7684\u753b\u8bba\u3002\u8ba8\u8bba\u8fd9\u6761\u4ef6\u7684\u5f88\u591a\u3002\u9648\u5e08\u66fe\u4f5c\u4e2d\u56fd\u6587\u4eba\u753b\u4e4b\u4ef7\u503c\u4e00\u6587\uff08\u89c1\u4e2d\u56fd\u6587\u4eba\u753b\u4e4b\u7814\u7a76\uff09\u8bf4\u6587\u4eba\u753b\u5bb6\uff0c\u7b2c\u4e00\u662f\u8981\u6709\u201c\u4eba\u54c1\u201d\uff0c\u7b2c\u4e8c\u662f\u8981\u6709\u201c\u5929\u624d\u201d\uff0c\u7b2c\u4e09\u662f\u8981\u6709\u201c\u5b66\u95ee\u201d\u3002\u518d\u770b\u6768\u5b50\u4e91\u8bf4\u7684\uff0c\u201c\u753b\uff0c\u5fc3\u753b\u4e5f\u201d\uff0c\u548c\u9093\u693f\u8bf4\u7684\u201c\u5176\u4e3a\u4eba\u4e5f\u65e0\u6587\uff0c\u867d\u6709\u6653\u753b\u8005\u5be1\u77e3\u201d\u7684\u8bdd\uff0c\u53ef\u89c1\u9648\u5e08\u66fe\u7684\u753b\u6cd5\uff0c\u5e76\u4e0d\u662f\u6ca1\u6709\u7406\u7531\u548c\u6839\u636e\u3002\u56e0\u4e3a\u4e2d\u56fd\u81ea\u5143\u4ee5\u540e\uff0c\u5df2\u628a\u7ed8\u753b\u770b\u505a\u753b\u5bb6\u4e00\u5207\u7684\u5bc4\u6258\uff0c\u662f\u753b\u5bb6\u4eba\u683c\u601d\u60f3\u7684\u518d\u73b0\uff0c\u662f\u7eaf\u7cb9\u7684\u827a\u672f\u3002\u6240\u4ee5\u7ed8\u753b\u7684\u4ef7\u503c\uff0c\u662f\u81f3\u9ad8\u65e0\u4e0a\u7684\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

All sections have changed significantly compared with those 50 years ago. Today, everything we see and hear is different from that in previous times. Even the feelings of everyone are different due to the changes in their lifestyle. According to the history of cultural development, there is no doubt that China needs New Art to match reality. However, we should think about whether Chinese painting now is relevant to modernity (xiandaixing <\/em>\u73b0\u4ee3\u6027). For the moment, we can ignore numerous arguments that criticize Chinese painting for being unsuitable for the modern world. As far as the Chinese painting itself is concerned, it has a considerable number of flaws. Nevertheless, the flaws here refer to the over-structured mode of the Chinese painting and have no relevance to whether Chinese painting is good or bad. Painting methods such as the layout, way of painting and the design of color, have become unbreakable regulations. It is clear that if painters refuse to follow these methods from the traditional mode, they will feel extremely bored and frustrated, preferring to make modifications. However, the cruel fact is that painters cannot escape from the invisible influence of the past several thousand years. They are not capable of developing any new thoughts under this influence. Therefore, there is nothing strange about the lack of improvement in Chinese painting.<\/p>\r\n<\/td>\r\n

\r\n

\u73b0\u5728\u7684\u4e00\u5207\uff0c\u53ea\u8981\u5c06\u4e94\u5341\u5e74\u524d\u7684\u4e00\u5207\u6765\u6bd4\u8f83\uff0c\u4efb\u4f55\u90e8\u95e8\uff0c\u90fd\u8d77\u4e86\u6025\u5267\u7684\u53d8\u52a8\u3002\u5904\u5728\u4eca\u65e5\uff0c\u8033\u76ee\u6240\u63a5\uff0c\u5f53\u975e\u4ece\u524d\u90a3\u79cd\u5f62\u76f8\uff0c\u751a\u81f3\u56e0\u4e86\u751f\u6d3b\u65b9\u5f0f\u7684\u8f6c\u6613\uff0c\u6bcf\u4e2a\u4eba\u7684\u611f\u53d7\uff0c\u4e5f\u81ea\u4e0d\u540c\u3002\u6839\u636e\u6587\u5316\u7684\u5386\u53f2\uff0c\u4e2d\u56fd\u5728\u8fd9\u65f6\u5019\uff0c\u9700\u8981\u4e00\u79cd\u9002\u5408\u73b0\u5b9e\u7684\u65b0\u827a\u672f\uff0c\u81ea\u65e0\u95ee\u9898\u3002\u7136\u800c\u6211\u4eec\u653e\u773c\u770b\u770b\uff0c\u73b0\u5728\u7684\u4e2d\u56fd\u7ed8\u753b\uff0c\u548c\u201c\u73b0\u4ee3\u6027\u201d\u6709\u5173\u7cfb\u4e48\uff1f\u8bb8\u591a\u6279\u8bc4\u4e2d\u56fd\u753b\u4e0d\u5408\u73b0\u5b9e\u7684\u7406\u8bba\uff0c\u59d1\u4e0d\u7ba1\u5b83\u3002\u5c31\u4e2d\u56fd\u753b\u7684\u672c\u8eab\u800c\u8bba\uff0c\u5b83\u7684\u7f3a\u9677\u5b9e\u5728\u592a\u591a\u3002\u4e0d\u8fc7\u8fd9\u91cc\u6240\u8c13\u7f3a\u9677\uff0c\u4e0d\u662f\u597d\u4e0e\u4e0d\u597d\u7684\u95ee\u9898\uff0c\u662f\u8bf4\u753b\u7684\u672c\u8eab\u65e9\u5df2\u50f5\u5316\u4e86\uff0c\u5e03\u5c40\u3001\u8fd0\u7b14\u3001\u8bbe\u8272\u2026 \u2026 \u2026\u7b49\u6280\u6cd5\u7684\u52a8\u4f5c\uff0c\u4e5f\u6210\u4e86\u7262\u4e0d\u53ef\u7834\u7684\u5b9a\u7a0b\u3002\u6211\u4eec\u5f88\u660e\u77ad\uff0c\u82e5\u662f\u753b\u5bb6\u7684\u8111\u5b50\u6ca1\u6709\u6b7b\u5b88\u7740\u4f20\u7edf\u7684\u65b9\u6cd5\u7684\u8bdd\uff0c\u6050\u6015\u8c01\u90fd\u6709\u6781\u5ea6\u7684\u70e6\u95f7\uff0c\u8c01\u90fd\u6709\u60f3\u6539\u9769\u7684\u5ff5\u5934\u3002\u7136\u800c\u7ed3\u679c\u4f3c\u4e4e\u592a\u60e8\uff0c\u867d\u5343\u5e74\u6765\u7684\u6f5c\u52bf\u529b\uff0c\u8fd8\u6574\u4e2a\u7b3c\u7f69\u4e86\u753b\u5bb6\u7684\u5fc3\uff0c\u675f\u7f1a\u5f97\u4f7f\u4f60\u52a8\u4e5f\u4e0d\u80fd\u52a8\u3002\u4e2d\u56fd\u753b\u7684\u4e0d\u8fdb\u6b65\uff0c\u8bf4\u660e\u4e86\u53c8\u6ca1\u6709\u591a\u5927\u5e0c\u5947\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

From the perspective of subjects determining the painting theme, literati painting is perceived to be negative (xiaoji<\/em> \u6d88\u6781), frustrated (tuifei<\/em> \u9893\u5e9f), old fashioned (lao\u00a0<\/em>\u8001), weak (wu <\/em>\u65e0), reclusive (yinyi<\/em> \u9690\u9038), and pessimistic (beiguan<\/em> \u60b2\u89c2). It comes from an outlook on life under a narrow sense of Chinese scholar-officials (shidafu <\/em>\u58eb\u5927\u592b). For example, these scholar-officials selected to read or draw paintings when they felt tired of playing political games, obtaining intellectual stimulation and reputation for elegance (fengya<\/em> \u98ce\u96c5). We should be concerned with the issue of what is today\u2019s China. If we consider the art from ethics and morality, is it necessary to carry forward the traditional methods of Chinese painting? Moreover, this formula is as firm as marble and has not been broken for many years. Ultimately, the further development of painting methods is a lost cause.<\/p>\r\n<\/td>\r\n

\r\n

\u5c31\u53d6\u6750\u4e0a\u8bf4\uff0c\u6587\u4eba\u753b\u662f\u201c\u6d88\u6781\u201d\u7684\uff0c\u201c\u9893\u5e9f\u201d\u7684\uff0c\u201c\u8001\u201d\u7684\uff0c\u201c\u65e0\u201d\u7684\uff0c\u201c\u9690\u9038\u201d\u7684\uff0c\u201c\u60b2\u89c2\u201d\u7684\u3002\u4ed6\u662f\u4e2d\u56fd\u58eb\u5927\u592b\u72ed\u4e49\u7684\u4eba\u751f\u89c2\uff0c\u8b6c\u5982\u5728\u653f\u6cbb\u4e0a\u73a9\u5f97\u817b\u4e86\uff0c\u770b\u770b\u2014\u2014\u6216\u8005\u753b\u753b\u2014\u2014\u8fd9\u79cd\u4e1c\u897f\u523a\u6fc0\u523a\u6fc0\uff0c\u535a\u4e00\u4e2a\u98ce\u96c5\u7684\u540d\u513f\u3002\u6211\u4eec\u60f3\u60f3\uff0c\u4eca\u65e5\u7684\u4e2d\u56fd\uff0c\u662f\u4ec0\u4e48\u65f6\u4ee3\uff1f\u662f\u4ec0\u4e48\u73af\u5883\uff1f\u82e5\u628a\u827a\u672f\u4ece\u201c\u4f26\u7406\u201d \u201c\u9053\u5fb7\u201d\u4e0a\u770b\uff0c\u8fd9\u79cd\u5236\u4f5c\uff0c\u662f\u5426\u6709\u7ee7\u7eed\u53d1\u626c\u7684\u5fc5\u8981\uff1f\u51b5\u4e14\u8fd9\u79cd\u5927\u7406\u77f3\u4f3c\u7684\u516c\u5f0f\uff0c\u8bb8\u591a\u5e74\u6765\u6ca1\u6709\u4eba\u6253\u5f97\u7834\uff0c\u53d1\u626c\u4e5f\u7ec8\u4e45\u662f\u4e00\u53e5\u4f3c\u662f\u800c\u975e\u7684\u7a7a\u8bdd\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

In any case, Chinese painting is in urgent need of reform.<\/p>\r\n<\/td>\r\n

\r\n

\u4e2d\u56fd\u7ed8\u753b\uff0c\u65e0\u8bba\u5982\u4f55\u662f\u6709\u6539\u8fdb\u7684\u6025\u8feb\u9700\u8981\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

II: Phenomenon in The Past 26 Years<\/b><\/p>\r\n<\/td>\r\n

\r\n

\u4e8c\u3001\u4e8c\u5341\u516d\u5e74\u6765\u7684\u51e0\u79cd\u76f8<\/strong><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

In this section, sufficient explanation should be presented. What I discuss below is described in a completely objective way as observations of history without any subjective opinion. Yet, I also refrain from repeating word for word what others say.<\/p>\r\n<\/td>\r\n

\r\n

\u5728\u8fd9\u4e2a\u5c0f\u9898\u76ee\u4e4b\u4e0b\uff0c\u5e94\u8be5\u5148\u6709\u76f8\u5f53\u7684\u8bf4\u660e\u3002\u4ee5\u4e0b\u6240\u8bba\uff0c\u5b8c\u5168\u7ad9\u5728\u7eaf\u5ba2\u89c2\u7684\u7acb\u573a\uff0c\u4ece\u201c\u53f2\u7684\u89c2\u5bdf\u201d\u4e88\u4ee5\u8f6e\u5ed3\u7684\u8ff0\u8bf4\uff0c\u4e1d\u6beb\u4e0d\u63ba\u4e3b\u89c2\u6216\u7c7b\u4f3c\u4e3b\u89c2\u7684\u610f\u89c1\uff0c\u4f46\u53c8\u5b8c\u5168\u4e0d\u662f\u4eba\u4e91\u4ea6\u4e91\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

In the past 26 years since the establishment of The Republic of China, the most significant development for fine art is the place it has earned in education. Although the norms are still the same, popularization or promotion cannot be started before the Republic of China. The knowledge and practice of painting that students of schools at all levels have learned are almost insulated from the traditional Chinese painting. In a way, except for the very few who learn traditional Chinese painting, the prosperity and decline of traditional Chinese painting has nothing to do with school-based education, especially for young students.<\/p>\r\n<\/td>\r\n

\r\n

\u4e2d\u534e\u6c11\u56fd\u5efa\u56fd\u4e8c\u5341\u516d\u5e74\u4e2d\uff0c\u827a\u672f\u4e0a\u6700\u663e\u89c1\u7684\u8fdb\u6b65\uff0c\u662f\u827a\u672f\u80fd\u5728\u6559\u80b2\u4e0a\u6709\u4e86\u4f4d\u7f6e\u3002\u867d\u7136\u73b0\u5728\u8fd8\u662f\u90a3\u4e48\u4e00\u5957\uff0c\u4f46\u6c11\u56fd\u4ee5\u524d\uff0c\u5374\u8c08\u4e0d\u5230\u666e\u53ca\u548c\u63d0\u5021\u7684\u3002\u5404\u7ea7\u5b66\u6821\u7684\u5b66\u751f\uff0c\u4ed6\u4eec\u6240\u53d7\u5173\u4e8e\u7ed8\u753b\u4e0a\u7684\u667a\u8bc6\u548c\u7ec3\u4e60\uff0c\u51e0\u4e4e\u53ef\u4ee5\u8bf4\uff0c\u4e0e\u4e2d\u56fd\u56fa\u6709\u7684\u7edd\u7f18\u3002\u7167\u67d0\u65b9\u9762\u60c5\u5f62\u8bba\uff0c\u4e2d\u56fd\u7ed8\u753b\u7684\u76db\u8870\uff0c\u548c\u5b66\u6821\u6559\u80b2\u65e0\u5173\u3002\u5c24\u5176\u548c\u9752\u5e74\u5b66\u751f\u2014\u2014\u9664\u4e86\u5b66\u4e2d\u56fd\u753b\u7684\u6781\u5c11\u6570\u2014\u2014\u65e0\u5173\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

In the past 26 years, artists separated themselves from the environment of domestic turmoil and foreign invasions, as if they live in another world. Even if the painting was produced, the painter\u2019s style still implied “carefree, I see the southern hill”.[6]<\/sup><\/a> We cannot blame the painters for being brainless \u2013 the barriers of the factions are so strong that if you were to come up with anything new, you would be subject to abuse and taunts.<\/p>\r\n<\/td>\r\n

\r\n

\u4e8c\u5341\u516d\u5e74\u6765\uff0c\u56fd\u5185\u4ecd\u7136\u662f\u52a8\u4e71\u7740\uff0c\u56fd\u5916\u7684\u4fb5\u7565\u538b\u8feb\uff0c\u8fd9\u4e9b\u73af\u5883\u8fdc\u8fdc\u7684\u9694\u79bb\uff0c\u597d\u50cf\u751f\u5b58\u5728\u53e6\u5916\u4e00\u4e2a\u4e16\u754c\u3002\u7eb5\u6709\u5236\u4f5c\uff0c\u4e5f\u8fd8\u662f\u4e9b\u201c\u60a0\u7136\u89c1\u5357\u5c71\u201d\u4e4b\u7c7b\u3002\u8fd9\u4e0d\u80fd\u602a\u753b\u5bb6\u6ca1\u6709\u8111\u7b4b\uff0c\u53ea\u602a\u201c\u6d41\u6d3e\u5316\u201d\u7684\u58c1\u5792\u592a\u575a\uff0c\u4f60\u8981\u662f\u7a0d\u5fae\u6765\u4e00\u70b9\u65b0\u82b1\u6837\uff0c\u4fdd\u7ba1\u4f60\u88ab\u4eba\u9a82\u5f97\u72d7\u8840\u6dcb\u5934\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Yet, can we say there is no one in Chinese painting who is forging new paths? This is not the case.<\/p>\r\n<\/td>\r\n

\r\n

\u7136\u5219\u4e2d\u56fd\u753b\u6ca1\u6709\u4ece\u4e8b\u65b0\u7684\u9014\u5f84\u7684\u4eba\u4e48\uff1f\u8fd9\u53c8\u4e0d\u7136\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

I have a thought: In the past 26 years of the Republic of China, especially in the past ten years, there is something that is very unreasonable. The evaluation of Chinese artists were based on \u201cinterpersonal relationships\u201d (renshi<\/em> \u4eba\u4e8b) instead of art. Could you find even one exhibition without many celebrities\u2019 signed introductions? These celebrities may not know the artists who requested it or did not read their works, let alone understand their art. Therefore, there are only the people who listen well but cannot see anything. As a result, those introduced by the right person quickly leap ahead and soon consider themselves to be a master, while the one who introduces such people plays the role of a god in the painting world. This kind of environment dramatically affects the progress of art.<\/p>\r\n<\/td>\r\n

\r\n

\u6211\u6709\u4e00\u79cd\u611f\u60f3\uff0c\u6211\u89c9\u5f97\u6c11\u56fd\u4e8c\u5341\u516d\u5e74\u6765\uff0c\u2014\u2014\u5c24\u5176\u8fd1\u5341\u5e74\u2014\u2014\u6709\u4e00\u4ef6\u4e0d\u5341\u5206\u53ef\u89e3\u7684\u4e8b\u3002\u8fd9\u4ef6\u4e8b\uff0c\u5c31\u662f\u4e2d\u56fd\u7684\u827a\u672f\u5bb6\uff0c\u4ed6\u7684\u8bc4\u4ef7\uff0c\u5b8c\u5168\u5efa\u7b51\u5728\u201c\u4eba\u4e8b\u201d\u4e0a\u9762\u7684\uff0c\u827a\u672f\u8fd8\u5728\u5176\u6b21\u3002\u4f60\u770b\u8c01\u5f00\u753b\u5c55\uff0c\u4e0d\u662f\u8bb8\u591a\u8bb8\u591a\u7684\u4eba\u7f72\u540d\u4ecb\u7ecd\uff1f\u8fd9\u73ed\u540d\u4eba\uff0c\u4e5f\u8bb8\u4ed6\u5e76\u4e0d\u8ba4\u8bc6\u8fd9\u8bf7\u6c42\u7684\u4eba\uff0c\u6216\u8005\u5e76\u672a\u62dc\u8bfb\u8fc7\u4ed6\u7684\u4f5c\u54c1\uff0c\u5982\u4f55\u80fd\u77e5\u9053\u4ed6\u7684\u827a\u672f\uff1f\u5982\u6b64\u4e00\u6765\uff0c\u793e\u4f1a\u4e0a\u53ea\u5269\u6709\u8033\u800c\u778e\u4e86\u773c\u775b\u4e86\u3002\u4e8e\u662f\u88ab\u4ecb\u7ecd\u8005\u4e00\u8dc3\u81ea\u5c45\u540d\u5bb6\u3002\u4ecb\u7ecd\u8005\u4e5f\u4fe8\u7136\u753b\u575b\u76df\u4e3b\u3002\u8fd9\u79cd\u60c5\u5f62\uff0c\u5f71\u54cd\u4e8e\u827a\u672f\u7684\u8fdb\u6b65\u662f\u6781\u5927\u7684\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Furthermore, when talking about the dynamics of Chinese painting, the most influential painter is Wu Changshuo.[7]<\/sup><\/a> His paintings of flowers and fruits (huaguo<\/em> \u82b1\u679c) and landscapes (shanshui<\/em> \u5c71\u6c34), even his calligraphy, have influenced so many people who have studied painting. His art, of course, is the result of his efforts over decades to write Stone Drums Inscriptions (liejie<\/em> \u730e\u78a3).[8]<\/sup><\/a> Therefore, there is a track of each stroke, not exclusively acquired from the layout of the frame. However, the people who followed him are not the same. I have thought about why Wu Changshuo’s paintings had such a profound impact that they have almost dominated the flower and fruit paintings of East China. Perhaps this is because landscape painting is too cumbersome and too time-consuming, not to mention the disorder in this world. Who is willing to concentrate on work which takes \u201cfive days to draw one mountain and ten days for one river\u201d (wuri yishan shiri yishui<\/em> \u4e94\u65e5\u4e00\u5c71\u5341\u65e5\u4e00\u6c34)? Just a few casual strokes are also very elegant. The influence of Wu Changshuo arises under such circumstances. Otherwise, the Japanese are extremely respectful of his works. Why did the Japanese painters not follow him? I heard that the price of his work is not as high as that in 1923, and this may be the sign that his influence is getting weaker.<\/p>\r\n<\/td>\r\n

\r\n

\u8fdb\u4e00\u6b65\uff0c\u8c08\u4e2d\u56fd\u753b\u7684\u52a8\u6001\uff0c\u5f71\u54cd\u6700\u5927\u7684\u8981\u63a8\u5434\u660c\u7855\u3002\u4ed6\u7684\u82b1\u679c\u5c71\u6c34\u4e4b\u7c7b\uff0c\u751a\u81f3\u4e8e\u4ed6\u7684\u5b57\uff0c\u4e0d\u77e5\u5f71\u54cd\u4e86\u591a\u5c11\u5b66\u753b\u7684\u4eba\u3002\u4ed6\u672c\u8eab\u7684\u827a\u672f\uff0c\u5f53\u7136\u662f\u4ed6\u51e0\u5341\u5e74\u5199\u730e\u78a3\u7684\u529f\u592b\u6240\u5f97\u6765\uff0c\u6240\u4ee5\u4ed6\u6bcf\u4e00\u7b14\u90fd\u6709\u6e0a\u6e90\uff0c\u5e76\u4e0d\u662f\u4e13\u4ece\u95f4\u67b6\u5e03\u7f6e\u4e0a\u53d6\u5f97\u7684\u3002\u5b66\u7684\u4eba\u5c31\u4e0d\u7136\u4e86\u3002\u6211\u66fe\u60f3\uff0c\u5434\u660c\u7855\u7684\u753b\uff0c\u4e3a\u4ec0\u4e48\u4f1a\u6709\u8fd9\u4e48\u5927\u7684\u5f71\u54cd\uff1f\u51e0\u4e4e\u53ef\u4ee5\u652f\u914d\u534e\u4e1c\u7684\u82b1\u679c\u753b\u3002\u8fd9\u6216\u8005\u662f\u5c71\u6c34\u592a\u7e41\u7410\u4e86\uff0c\u592a\u8d39\u65f6\u95f4\u4e86\uff0c\u52a0\u4e4b\u5929\u4e0b\u53c8\u4e0d\u592a\u5e73\uff0c\u8c01\u80af\u5b89\u5fc3\u53bb\u505a\u90a3\u4e94\u65e5\u4e00\u5c71\u5341\u65e5\u4e00\u6c34\u7684\u5de5\u4f5c\uff1f\u968f\u4fbf\u6765\u51e0\u7b14\u4e5f\u6b63\u89c1\u5f97\u695a\u695a\u6709\u81f4\u3002\u5434\u660c\u7855\u7684\u5f71\u54cd\uff0c\u5f53\u5728\u8fd9\u79cd\u60c5\u5f62\u4e4b\u4e0b\u800c\u53d1\u751f\u4f5c\u7528\u3002\u4e0d\u7136\uff0c\u65e5\u672c\u4eba\u5bf9\u4e8e\u4ed6\u7684\u4f5c\u54c1\uff0c\u662f\u6781\u5176\u5c0a\u91cd\u7684\uff0c\u4e3a\u4ec0\u4e48\u65e5\u672c\u4eba\u6ca1\u6709\u5b66\u4ed6\u7684\u753b\u5bb6\uff1f\u542c\u8bf4\u4ed6\u7684\u4f5c\u54c1\u7684\u4ef7\u94b1\uff0c\u4e0d\u5982\u6c11\u56fd\u4e00\u5341\u4e8c\u5e74\u90a3\u4e48\u9ad8\uff0c\u8fd9\u4e5f\u8bb8\u662f\u4ed6\u7684\u5f71\u54cd\u65e5\u6e10\u8584\u5f31\u4e4b\u5fb5\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Paintings in the Qi Baishi style are similar to the flower and fruit paintings of Wu Changshuo.[9]<\/sup><\/a> It can be said that Qi’s seal is too majestic to directly or indirectly impact many people, but it is rare to capture his spirit. In recent years, his paintings have been praised highly by some people in the north, and are regarded as no less important than those of Wu Changshuo back around 1921.<\/p>\r\n<\/td>\r\n

\r\n

\u753b\u4e0e\u5434\u660c\u7855\u540c\u662f\u82b1\u679c\u4e00\u7c7b\u7684\u4f5c\u98ce\uff0c\u5219\u6709\u9f50\u767d\u77f3\u5f0f\u3002\u9f50\u6c0f\u6479\u5370\uff0c\u9b44\u529b\u4e4b\u96c4\u4f1f\uff0c\u53ef\u4ee5\u8bf4\u76f4\u63a5\u95f4\u63a5\u5df2\u51b2\u52a8\u4e86\u8bb8\u591a\u5370\u4eba\uff0c\u4f46\u80fd\u5f97\u4ed6\u7684\u7cbe\u795e\u7684\uff0c\u5374\u4e0d\u591a\u89c1\u3002\u4ed6\u7684\u753b\u8fd1\u51e0\u5e74\u6765\uff0c\u9887\u4e3a\u5317\u65b9\u4e00\u90e8\u5206\u4eba\u6240\u63a8\u91cd\uff0c\u5e76\u4e0d\u51cf\u4e8e\u6c11\u56fd\u5341\u5e74\u5de6\u53f3\u4e4b\u5bf9\u4e8e\u5434\u660c\u7855\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

As we know, in the late Qing Dynasty, works of flowers and birds (huaniao<\/em> \u82b1\u9e1f), feathers (lingmao<\/em> \u7fce\u6bdb), grass and insects (caochong<\/em> \u8349\u866b), vegetables and fruits (shuguo<\/em> \u852c\u679c) \u2013 works from the fragrance hall \u2013 still have the most significant impact.[10]<\/sup><\/a> Subsequent painters like Zhang Xiong and Shanyin Renshi and Li Futang, Zhao Zhiqian or Jin Dongxin’s style, although they had their different styles, they still did not dare stray too far from the norms.[11]<\/sup><\/a> Wu Changshuo is different; he is bolder. Qi is even more different, and the composition of some of his works are really fascinating. However, both Wu Changshuo and Qi Baishi lived in the period of great turmoil in China. The cultural direction had been greatly shaken and was changing. People also felt precarious. As a result, it was inevitable for him to generate this style.<\/p>\r\n<\/td>\r\n

\r\n

\u6211\u4eec\u77e5\u9053\uff0c\u6e05\u672b\u7684\u82b1\u9e1f\u7fce\u6bdb\u8349\u866b\u852c\u679c\u4e4b\u7c7b\u7684\u4f5c\u54c1\uff0c\u8fd8\u662f\u74ef\u9999\u9986\u7684\u4f59\u97f5\u6709\u52bf\u529b\u3002\u4ee5\u540e\u5f20\u718a\u53ca\u5c71\u9634\u4efb\u6c0f\u548c\u674e\u590d\u5802\u8d75\u4e4b\u8c26\uff0c\u6216\u662f\u91d1\u51ac\u5fc3\u4e4b\u6d3e\u6d41\uff0c\u867d\u66fe\u5728\u6784\u56fe\u4e0a\u5404\u6709\u5404\u7684\u9762\u76ee\uff0c\u4f46\u4ecd\u4e0d\u6562\u903e\u8d8a\u89c4\u77e9\u592a\u8fdc\u3002\u5434\u660c\u7855\u4e0d\u540c\uff0c\u80c6\u5927\u591a\u4e86\u3002\u9f50\u6c0f\u66f4\u4e0d\u540c\uff0c\u6709\u4e9b\u6784\u56fe\uff0c\u786e\u4ee4\u4eba\u795e\u5f80\u3002\u4e0d\u8fc7\u81ea\u5434\u660c\u7855\uff0c\u5230\u9f50\u767d\u77f3\uff0c\u6b63\u662f\u4e2d\u56fd\u5927\u52a8\u4e71\u7684\u65f6\u5019\u3002\u6587\u5316\u65b9\u5411\u5df2\u53d7\u5de8\u5927\u52a8\u6447\u800c\u6e10\u8d8b\u8f6c\u53d8\uff0c\u4eba\u5fc3\u7684\u4e0d\u5b89\u5b9a\uff0c\u4ea7\u751f\u8fd9\u79cd\u4f5c\u98ce\uff0c\u81ea\u662f\u5fc5\u7136\u7684\u7ed3\u679c\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

As stated previously, landscape painting was supposed to reverse the trend of new schools established by the Four Wangs to a simple style, and to be unrestrained by propriety. However, that is not the case. Two reasons can account for this issue: The shapes of mountains and rivers are different; the boundary of literati painting which takes mountains and rivers as the essential is strict. For example, in the era of Jieziyuan, Ren Yi and Yang Borun had already embarked on this kind of reform, but the influence was slight.[12]<\/sup><\/a> For landscape painters, painting mountains and rivers can only be a source of occasional amusement, rather than a reliable source of income. Hence, landscape painting is different from the painting of flowers and fruits.<\/p>\r\n<\/td>\r\n

\r\n

\u5c71\u6c34\u753b\u5462\uff0c\u636e\u4e0a\u8ff0\u7684\u7406\u7531\uff0c\u5f53\u7136\u4e5f\u5e94\u7531\u56db\u738b\u7684\u6d41\u6d3e\uff0c\u8f6c\u8d8b\u7b80\u7684\u758f\u653e\u624d\u5bf9\uff0c\u7136\u5b9e\u9645\u4e0a\u4e0d\u5c3d\u5982\u6b64\u3002\u8fd9\u56e0\u4e3a\u5c71\u6c34\u7684\u6784\u9020\u4e0d\u540c\uff0c\u540c\u65f6\u4e5f\u56e0\u4e3a\u4ee5\u5c71\u6c34\u4e3a\u672c\u4f4d\u7684\u6587\u4eba\u753b\u7684\u58c1\u5792\u592a\u4e25\uff0c\u5982\u82a5\u5b50\u56ed\u65f6\u4ee3\u7684\u4efb\u9890\u3001\u6768\u4f2f\u6da6\uff0c\u65e9\u5c31\u7740\u624b\u8fc7\u8fd9\u79cd\u6539\u9769\uff0c\u4f46\u4e3a\u6d41\u4e0d\u8fdc\uff0c\u53ea\u53ef\u4f9b\u5c71\u6c34\u753b\u5bb6\u5076\u7136\u7684\u6e38\u620f\uff0c\u4e0d\u80fd\u4f9b\u7ecf\u5e38\u7684\u7ecf\u8425\u3002\u5c71\u6c34\u8f83\u4e4b\u82b1\u679c\u7b49\uff0c\u5176\u4e0d\u540c\u5c31\u5728\u6b64\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

During the time of Emperor Guangxu, landscapes painted by Lu Hui and Qin Zuyong might be regarded as \u201csuperior to the Four Wangs\u201d if evaluating their paintings by the same standard.[13]<\/sup><\/a> Therefore, painting landscape had requirements. Painters in the Song dynasty discovered six or seven out of ten. Painters in the Yuan dynasty learned eight or nine out of ten. Painters like the Four Great Masters of the Ming dynasty were entirely capable of applying these norms. For painters in the Qing dynasty, they were trapped in a circle and had to continuously pace to and fro. As a result, even if Lu Hui and Qin Zuyong were consummate painters, they could not escape this. Not surprisingly, we see such conditions continue to dwindle in the Republic of China.<\/p>\r\n<\/td>\r\n

\r\n

\u5149\u7eea\u95f4\uff0c\u9646\u6062\u79e6\u7956\u6c38\u2026 \u2026 \u2026\u7b49\u4eba\u7684\u5c71\u6c34\u3002\u82e5\u7528\u6b23\u8d4f\u56db\u738b\u7684\u773c\u5149\u6765\u770b\uff0c\u5373\u8bf4\u662f\u201c\u8d85\u56db\u738b\u800c\u4e0a\u4e4b\u201d\uff0c\u4e5f\u672a\u5c1d\u4e0d\u53ef\u3002\u8db3\u89c1\u5c71\u6c34\u753b\u81ea\u6709\u5c71\u6c34\u753b\u7684\u4e00\u5207\u6761\u4ef6\uff0c\u8fd9\u4e9b\u6761\u4ef6\uff0c\u5b8b\u4eba\u5f97\u4e86\u5341\u4e4b\u516d\u4e03\uff0c\u5143\u4eba\u5f97\u4e86\u5341\u4e4b\u516b\u4e5d,\u660e\u4eba\u2014\u2014\u5982\u56db\u5927\u5bb6\u2014\u2014\u662f\u5341\u5206\u4e4b\u5341\uff0c\u6e05\u4eba\u5c31\u53ea\u5f97\u5728\u8fd9\u5708\u5b50\u91cc\u65cb\u8f6c\u4e86\u3002\u6240\u4ee5\u5ec9\u592b,\u9038\u82ac\u7b49\u7684\u5de5\u592b\u867d\u96c4\u539a\uff0c\u4e5f\u8131\u4e0d\u4e86\u90a3\u4e00\u9053\u5708\u5b50\u3002\u964d\u800c\u81f3\u4e8e\u6c11\u56fd\uff0c\u4e5f\u5c31\u53ef\u60f3\u800c\u77e5\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

It is common to see several sub-fields within fields. For instance, Wu Daiqiu and Tang Dingzhi adhered to their own norms.[14]<\/sup><\/a> Their achievements were remarkable, and their masterpieces had endured throughout the ages within their own communities. However, the gap between their aspiration and reality is still wide when seeing the initial architecture of landscape painting that was first constructed in the Song dynasty but further renovated in the Yuan, Ming and early Qing dynasties. Based on these assumptions, Xiao Zhiquan, Fu Xinyu, Zhang Daqian as well as Hu Peiheng were essential figures.[15]<\/sup><\/a> The influence of these painters on landscape is still profound. These four painters all had impressive masterpieces \u2013 by no means imitations of the Four Masters from the Yuan dynasty or Shi Tao \u2013 but fabulous in their own way nonetheless.[16]<\/sup><\/a> Just like a courtyard with only one gate, people inside need not specify whether they are on the east side or the west side, as the gate is the only way to enter and exit. In Japan, during the Tenp\u014d period, Tani Bunch\u014d and Watanabe Kazan once \u201clived\u201d in this courtyard as well.[17]<\/sup><\/a><\/p>\r\n<\/td>\r\n

\r\n

\u5728\u5927\u5708\u5b50\u4e4b\u4e2d\uff0c\u590d\u4e0d\u5c11\u6709\u5c0f\u5708\u5b50\u7684\u3002\u5982\u5434\u5f85\u79cb\u6c64\u5b9a\u4e4b\u4e8c\u6c0f\uff0c\u5404\u81ea\u7956\u8ff0\u4ed6\u4eec\u7684\u8863\u94b5\uff0c\u529f\u592b\u5883\u754c\uff0c\u5747\u6709\u53ef\u4f20\uff0c\u8fd9\u662f\u5c31\u5708\u5b50\u8bf4\u5708\u5b50\u7684\u8bdd\u3002\u4ece\u9ad8\u5904\u4e00\u671b\uff0c\u4f9d\u7136\u8ddd\u7406\u60f3\u6709\u76f8\u5f53\u8ddd\u79bb\u7684\u3002\u6839\u636e\u8fd9\u5047\u5b9a\u6761\u4ef6\uff0c\u518d\u770b\u8427\u5394\u6cc9\u6ea5\u5fc3\u7572\u5f20\u5927\u5343\u751a\u81f3\u4e8e\u80e1\u4f69\u8861\u8bf8\u4f4d\uff0c\u4ed6\u4eec\u5bf9\u4e8e\u5c71\u6c34\uff0c\u7ad9\u5728\u5b8b\u671d\u5efa\u7b51\u5143\u660e\u6e05\u521d\u4fee\u847a\u8fc7\u7684\u5c71\u6c34\u821e\u53f0\u4e0a\uff0c\u90fd\u662f\u91cd\u8981\u7684\u89d2\u8272\uff0c\u90fd\u6709\u58f0\u5bb9\u5e76\u8302\u7684\u4f73\u4f5c\uff0c\u800c\u8fd9\u4e9b\u4f73\u4f5c\uff0c\u5c31\u662f\u4e0d\u58f0\u660e\u4eff\u5143\u56db\u5927\u5bb6\uff08\u5434\u9547\uff0c\u738b\u8499\uff0c\u9ec4\u516c\u671b\uff0c\u502a\u74d2\uff09\u6216\u4eff\u6e05\u6e58\u8001\u4eba\uff08\u77f3\u6d9b\u7684\u522b\u540d\uff0c\u5927\u6da4\u5b50\uff0c\u539f\u6d4e\u8001\u4eba\uff0c\u82e6\u74dc\u548c\u5c1a\uff09\uff0c\u4e5f\u81ea\u6709\u5176\u4e0d\u53ef\u57cb\u6ca1\u7684\u7cbe\u5f69\u3002\u8b6c\u5982\u4e00\u5ea7\u5927\u9662\u843d\uff0c\u53ea\u6709\u4e00\u4e2a\u5927\u95e8\uff0c\u5728\u5185\u9762\u7684\uff0c\u8fdb\u51fa\u5fc5\u987b\u7531\u6b64\uff0c\u6240\u4ee5\u7528\u4e0d\u7740\u58f0\u660e\u4f60\u662f\u4e1c\u8fb9\uff0c\u6211\u662f\u897f\u8fb9\u4e86\u3002\u65e5\u672c\u5929\u4fdd\u65f6\u7684\u201c\u8c37\u6587\u6641\u201d \u201c\u6e21\u8fb9\u534e\u5c71\u201d \u4e5f\u4f4f\u8fc7\u8fd9\u91cc\u9762\u5462\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

As for Chinese art, Chen Shuren, Gao Jianfu, Gao Qifeng, Xu Beihong and Liu Haisu had aspirations to reform and had been engaged in reforming traditional Chinese painting for years.[18]<\/sup><\/a> Each painter had his own strong points, and they all had quite a lot of followers. The Gao Brothers (Gao Jianfu and Gao Qifeng) advocated new Chinese painting in the southern area of the Nanling Mountains for a long time.[19]<\/sup><\/a> Xu Beihong embarked on art education in Beijing. Liu Haisu undertook the same career in Shanghai. Both of them received many young disciples. I am digressing. This article is not concerned with delving into these topics.<\/p>\r\n<\/td>\r\n

\r\n

\u81f3\u4e8e\u5bf9\u4e8e\u4e2d\u56fd\u827a\u672f\u2014\u2014\u67d0\u4e00\u70b9\u4e0a\u8d8b\u91cd\u4e2d\u56fd\u753b\u2014\u2014\u62b1\u6709\u6539\u9769\u7684\u5927\u613f\uff0c\u5e76\u4e14\u5b9e\u9645\u4ece\u4e8b\u591a\u5e74\uff0c\u5404\u6709\u5176\u5343\u79cb\u7684\u9648\u6811\u4eba\u9ad8\u5251\u7236\u9ad8\u5947\u5cef\u5f90\u60b2\u9e3f\u5218\u6d77\u7c9f\u8bf8\u4f4d\uff0c\u5f7c\u6b64\u90fd\u62e5\u6709\u76f8\u5f53\u7684\u5d07\u62dc\u8005\u3002\u9ad8\u6c0f\u5144\u5f1f\u5728\u5cad\u5357\u957f\u65f6\u671f\u7684\u63d0\u5021\u65b0\u56fd\u753b\uff0c\u5f90\u5218\u4e24\u4f4d\u5206\u5728\u4eac\u6caa\u4ece\u4e8b\u827a\u672f\u7684\u6559\u80b2\uff0c\u90fd\u6709\u82e5\u5e72\u9752\u5e74\u6240\u613f\u610f\u666f\u4ece\uff0c\u4f46\u672c\u6587\u4e0d\u6b32\u8d8a\u51fa\u9898\u5916\u8bf4\u4ec0\u4e48\u8bdd\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

After Gao Qifeng passed away, the painting style which thrived in the southern area of the Nanling Mountains spread from the Pearl River to the Yangtze River thanks to the efforts of Gao Jianfu. Such a campaign reflected the times, neither an accident nor a meaningless event. Last year, Gao Jianfu opened the Chun Shui<\/em> Painting Academy Exhibition in Nanjing and Shanghai.[20]<\/sup><\/a> Although this exhibition lasted for just a few days, the excepted effects were attained. Hundreds of exhibits showed shades of rendering, unconsciously aligning with the Japanese painting style. I will discuss the Japanese painting style in the following chapter.<\/p>\r\n<\/td>\r\n

\r\n

\u9ad8\u5947\u5cef\u6c0f\u901d\u4e16\u4e86\uff0c\u5251\u7236\u4e5f\u5e74\u6765\u5c06\u6ecb\u957f\u4e8e\u5cad\u5357\u7684\u753b\u98ce\u7531\u73e0\u6c5f\u6d41\u57df\u5c55\u5230\u4e86\u957f\u6c5f\u3002\u8fd9\u79cd\u8fd0\u52a8\uff0c\u4e0d\u662f\u5076\u7136\uff0c\u4e5f\u4e0d\u662f\u6beb\u65e0\u610f\u4e49\uff0c\u662f\u6709\u5176\u65f6\u4ee3\u6027\u7684\u3002\u9ad8\u6c0f\u4e3b\u6301\u7684\u6625\u7761\u753b\u9662\u753b\u5c55\uff0c\u53bb\u5e74\u5728\u5357\u4eac\u4e0a\u6d77\u4e3e\u884c\uff0c\u867d\u7136\u5728\u51e0\u5929\u77ed\u77ed\u7684\u671f\u95f4\uff0c\u4e5f\u6709\u6380\u52a8\u8d77\u9884\u671f\u7684\u6548\u679c\u3002\u4f46\u5c55\u54c1\u6570\u767e\u4e2d\u95f4\u6709\u6e32\u67d3\u9634\u5f71\uff0c\u65e0\u8bc6\u8005\u6d41\uff0c\u4ee5\u4e3a\u8fd1\u4e8e\u65e5\u672c\u4f5c\u98ce\u3002\u5173\u4e8e\u65e5\u672c\u753b\u98ce\uff0c\u540e\u9762\u518d\u8c08\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

At the Chun Shui<\/em> Painting Academy Exhibition, the works that I appreciated the most were the figure paintings of Fang Rending, the drawings and landscape paintings of Li Xiongcai and Rong Dakuai.[21]<\/sup><\/a> In the very least, these three painters accomplished breaking down the restrictions of \u201cconvention\u201d and \u201cschools\u201d. Meanwhile, their painting style achieved huge success, which was amazing.<\/p>\r\n<\/td>\r\n

\r\n

\u6211\u5bf9\u4e8e\u6625\u7761\u753b\u9662\u753b\u5c55\u91cc\uff0c\u6709\u4e8c\u4f4d\u7684\u753b\u6211\u6700\u4f69\u670d\uff0c\u4e00\u662f\u65b9\u4eba\u5b9a\u7684\u4eba\u7269\uff0c\u4e00\u662f\u9ece\u96c4\u624d\u5bb9\u5927\u5757\u7684\u5199\u751f\u2014\u2014\u5c71\u6c34\u2014\u2014\u8fd9\u4e09\u4f4d\uff0c\u6700\u4f4e\u9650\u5ea6\uff0c\u53ef\u4ee5\u8bf4\u662f\u67d0\u90e8\u5206\u4e0a\u6253\u7834\u4e86\u201c\u4f20\u7edf\u7684\u201d \u201c\u6d41\u6d3e\u5316\u7684\u201d\u7684\u675f\u7f1a\uff0c\u540c\u65f6\u6240\u8d70\u7684\u9014\u5f84\uff0c\u5df2\u6709\u76f8\u5f53\u7684\u6210\u529f\uff0c\u662f\u503c\u5f97\u60ca\u5f02\u7684\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Flowers painted by Chen Shuren were unique. His paintings were free from the norms and principles established by previous painters. The usage of lights and shadows showed a new technique. Color in his painting was bright and graceful.<\/p>\r\n<\/td>\r\n

\r\n

\u9648\u6811\u4eba\u7684\u82b1\u5349\uff0c\u53e6\u524f\u4e00\u683c\uff0c\u8131\u79bb\u53e4\u4eba\u7f81\u7eca\uff0c\u9634\u9633\u5411\u80cc\uff0c\u5747\u8868\u4e00\u79cd\u65b0\u7684\u6280\u6cd5\uff0c\u8272\u5f69\u6709\u6e05\u79c0\u660e\u4e3d\u4e4b\u6c14\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Both Xu Beihong and Liu Haisu had collections of their traditional Chinese paintings. Xu Beihong created a new painting style and reformed the way of sketching the leaves in landscape painting by alternatively employing Western painting techniques.[22]<\/sup><\/a> Therefore, each painting was brand new. At present, many painters are imitating these new painting techniques and applying them to horses, chickens, cats and so on, which shows that many painters hold high aspirations to reform traditional Chinese painting.<\/p>\r\n<\/td>\r\n

\r\n

\u5f90\u5218\u4e24\u4f4d\uff0c\u5173\u4e8e\u4e2d\u56fd\u753b\u7684\u96c6\u5b50\uff0c\u5404\u6709\u51e0\u79cd\u3002\u5f90\u7684\u753b\uff0c\u521b\u9020\u4e86\u4e00\u79cd\u65b0\u7684\u6837\u5f0f\uff0c\u53c8\u5c06\u5199\u5c71\u6c34\u7684\u6811\u53f6\u76b1\u64e6\u7b49\u7b49\uff0c\u4e88\u4ee5\u9769\u547d\uff0c\u800c\u4ee3\u4ee5\u897f\u6d0b\u753b\u7684\u6280\u6cd5\u3002\u6240\u4ee5\u6bcf\u4e00\u5f20\u753b\u90fd\u6709\u4e00\u79cd\u65b0\u9762\u76ee\u3002\u8b6c\u5982\u9a6c\u3001\u9e21\u3001\u732b\u2026 \u2026 \u2026\u7b49\u6837\uff0c\u73b0\u5728\u5728\u6a21\u4eff\u7684\u5f88\u591a\uff0c\u8db3\u89c1\u6709\u6539\u8fdb\u4e2d\u56fd\u753b\u5fd7\u6c14\u7684\u4eba\u4e0d\u5728\u5c11\u6570\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Liu Haisu painted mountains and rivers, flowers and birds, fowls and beasts (zoushou<\/em> \u8d70\u517d), as well as vegetables and fruits in his traditional Chinese paintings. On the reform of Chinese painting, Liu Haisu only retained some elements of the conventional norms; he had already bravely adopted new painting techniques.<\/p>\r\n<\/td>\r\n

\r\n

\u5218\u6c0f\u7684\u4e2d\u56fd\u753b\uff0c\u5c71\u6c34\u82b1\u9e1f\u8d70\u517d\u852c\u679c\u90fd\u5199\u3002\u5c31\u4e2d\u56fd\u753b\u7684\u9769\u547d\u4e0a\u8bba\uff0c\u5218\u7684\u4f5c\u54c1\uff0c\u5bf9\u4e8e\u4f20\u7edf\u7684\u6c14\u6c1b\uff0c\u53ea\u4fdd\u7559\u4e9b\u6210\u5206\uff1b\u5bf9\u4e8e\u65b0\u7684\u6280\u6cd5\uff0c\u5df2\u653e\u80c6\u7684\u5f15\u7528\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

III: The Japanese Influence and Other Matters <\/b><\/p>\r\n<\/td>\r\n

\r\n

\u4e09\u3001\u65e5\u672c\u5f71\u54cd\u53ca\u5176\u4ed6<\/strong><\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

To be honest, I am reluctant to write about Japan.<\/p>\r\n<\/td>\r\n

\r\n

\u8bf4\u8d77\u201c\u65e5\u672c\u201d\uff0c\u9887\u4f7f\u6211\u4e0d\u613f\u4e0b\u7b14\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

It is quite fashionable to talk about Japan recently. Though, what is the connection between our artists and Japan? We always found that some traces of Japanese paintings, such as the bird and flower painting styles of K\u014dno Bairei and Watanabe Sh\u014dtei, the cow painting styles of Hashimoto Kansetsu, or shanshui<\/em> painting styles of Yokoyama Taikan, frequently appeared in many Chinese painters’ works or prints with comments like, \u201cThis artist\u2019s paintings are stylized by Nihonga<\/em>.\u201d[23]<\/sup><\/a> Meanwhile, some so-called painting skills, such as Quintessence of Nihonga<\/em> (Ribenhua dacheng<\/em> \u65e5\u672c\u753b\u5927\u6210), Compilation of Nanzonghua Skills<\/em> (Nanzonghua xuancui<\/em> \u5357\u5b97\u753b\u9009\u7cb9) and Appreciation of K\u014dno Bairei\u2019s Works<\/em> (Meilin huajian<\/em> \u6885\u5cad\u753b\u9274) are treated as precious and used widely in works by plenty of painters.[24]<\/sup><\/a> Indeed, the Chinese painting world is bustling with activity. Moreover, some even go from Shanghai to stay a few days in Japan to pretend that they are \u201cfamous\u201d in East Asia or their works are \u201cfavored\u201d by the Japanese when they return home.<\/p>\r\n<\/td>\r\n

\r\n

\u8fd1\u6765\u80fd\u8c08\u65e5\u672c\u7684\u662f\u76f8\u5f53\u65f6\u9ae6\u4e86\u3002\u4f46\u4e66\u753b\u5bb6\u4eec\u548c\u65e5\u672c\u7684\u56e0\u7f18\u662f\u5982\u4f55\u5462\uff1f\u6211\u4eec\u5728\u5f88\u591a\u4e2d\u56fd\u753b\u5bb6\u7684\u4f5c\u54c1\u2014\u2014\u6216\u5370\u5237\u54c1\u2014\u2014\u4e2d\uff0c\u53ef\u4ee5\u770b\u51fa\u201c\u5e78\u91ce\u6885\u5cad\u201d \u201c\u6e21\u8fb9\u7701\u4ead\u201d\u7684\u82b1\u9e1f\uff0c\u201c\u6865\u672c\u5173\u96ea\u201d\u7684\u725b\uff0c\u201c\u6a2a\u5c71\u5927\u89c2\u201d\u7684\u5c71\u6c34\uff0c\u2026 \u2026 \u2026\u7b49\u7684\u4e00\u73b0\u518d\u73b0\uff0c\u540c\u65f6\u53c8\u542c\u5230 \u201c\u67d0\u4eba\u7684\u753b\u65e5\u672c\u753b\u6cd5\u5440\u201d \u7684\u8bdd\u3002\u540c\u65f6\u53c8\u968f\u5904\u53ef\u89c1\u7740 \u201c\u65e5\u672c\u753b\u5927\u6210\u201d\u201c\u5357\u5b97\u753b\u9009\u7cb9\u201d\u201c\u6973\u5cad\u753b\u9274\u201d \u2026 \u2026 \u2026\u5728\u753b\u5bb6\u4eec\u624b\u91cc\u5b9d\u8d1d\u822c\u7684\u8fd0\u7528\u3002\u8fd9\u6837\uff0c\u4e2d\u56fd\u753b\u575b\u4fbf\u70ed\u95f9\u4e86\u3002\u518d\u4e0d\u7136\uff0c\u7531\u4e0a\u6d77\u5230\u65e5\u672c\u53bb\u52fe\u7559\u51e0\u5929\uff0c\u56de\u56fd\u6765\uff0c\u4e5f\u597d\u8bf4\u201c\u540d\u91cd\u4e1c\u4e9a\u201d\u201c\u751a\u4e3a\u5f7c\u90a6\u6240\u63a8\u91cd\u201d\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

I want to say to those who care about the Japanese painting world: The Japanese only care for the works of Chinese painters who died more than 200 years ago and regard all others as worthless. The Japanese look down on the Chinese painters of today. Chinese painters of today, though they may be active in Europe, have to be careful in Japan! To be sure, the Japanese are still studying Chinese painting as well, but their motivations for doing so are by no means na\u00efve in design. Among those modern Nanga<\/em> (Nanhua<\/em> \u5357\u753b) painters, only a few of them are still doing Chinese traditional paintings.[25]<\/sup><\/a> All the others are inscribed with poems in the new style of Chinese imitation. Most of them have already established their own schools. Others are in the new style; though the painting styles are their own and widely inspired by many realistic themes, they inscribe poems and credit their own names on the painting. Among those works in the annual Imperial Academy of Fine Arts Exhibition (Diguo meishuyuan zhan<\/em> \u5e1d\u56fd\u7f8e\u672f\u9662\u5c55), none of them are mounted as a guazhou <\/em>(hanging scroll \u6302\u8f74), although there are more mounting shops (Biaohua dian<\/em> \u88f1\u753b\u5e97) in Japan than in China.[26]<\/sup><\/a><\/p>\r\n<\/td>\r\n

\r\n

\u6211\u53ef\u4ee5\u544a\u8bc9\u5173\u5fc3\u65e5\u672c\u753b\u575b\u7684\u4eba\u3002\u4e2d\u56fd\u753b\u5728\u65e5\u672c\uff0c\u9664\u4e86\u6b7b\u53bb\u5728\u4e8c\u767e\u5e74\u4ee5\u4e0a\u7684\u4f5c\u5bb6\uff0c\u4e5f\u8bb8\u6362\u5f97\u5230\u4ed6\u4eec\u51e0\u6587\u3002\u4ed6\u4eec\u5bf9\u4e8e\u73b0\u5728\u7684\u4e2d\u56fd\u4f5c\u5bb6\uff0c\u662f\u770b\u4e0d\u8d77\u7684\u3002\u2014\u2014\u4e2d\u56fd\u753b\u5bb6\u5c3d\u7ba1\u5728\u6b27\u6d32\u53ef\u4ee5\u8d77\u52b2\uff0c\u5728\u65e5\u672c\u5c31\u8981\u6ce8\u610f\u4e86\uff01\u2014\u2014\u81f3\u4e8e\u4ed6\u4eec\u7814\u7a76\u4e2d\u56fd\u753b\uff0c\u90a3\u76ee\u7684\u53c8\u590d\u6742\u7684\u5f88\u3002\u5728\u73b0\u4ee3\u7684\u5357\u753b\u5bb6\uff08\u7eaf\u4e2d\u56fd\u753b\uff09\u7fa4\u91cc\uff0c\u53ea\u6709\u6781\u5c11\u6570\u5c11\u6570\u7684\u51e0\u4f4d\uff0c\u5176\u4ed6\u90fd\u662f\u65b0\u6d3e\u7684\u4eff\u4e2d\u56fd\u7684\u4f5c\u98ce\u9898\u8bd7\u52a0\u6b3e\u7684\uff0c\u5927\u591a\u6570\u65e9\u5df2\u53d8\u6210\u4e86\u81ea\u5df1\u7684\u9762\u76ee\u3002\u80fd\u628a\u73b0\u5b9e\u7684\u8bb8\u591a\u9898\u6750\uff0c\u5e7f\u6cdb\u7684\u5e94\u7528\u3002\u6bcf\u5e74\u4e00\u5ea6\u7684\u5e1d\u56fd\u7f8e\u672f\u9662\u5c55\uff0c\u5c31\u6ca1\u6709\u4e00\u70b9\u662f\u88f1\u6210\u6302\u8f74\u7684\u51fa\u54c1\uff0c\u867d\u7136\u88f1\u753b\u5e97\u6bd4\u4e2d\u56fd\u591a\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

However, it is well known by those who have been to Tokyo that Nihonga<\/em> draws lessons from Chinese paintings. But the pen, paper and pigments of Nihonga<\/em> are far more complete and functional than China’s. At the same time, Japanese painters favor Chinese nature landscape as well and often come to China to sketch. For example, the scenery paintings of Takeuchi Seih\u014dand and Hashimoto Kansetsu from Kyoto are considered masterpieces.[27]<\/sup><\/a> There are also many painters in Suzhou. Why cannot they produce famous works that can represent the city and the era? This is related to the genre of Chinese painting. At this point we should return to the issue of Chinese painting genres.<\/p>\r\n<\/td>\r\n

\r\n

\u4f46\u65e5\u672c\u5bf9\u4e8e\u4e2d\u56fd\u7ed8\u753b\u7684\u53c2\u8003\uff0c\u4ee5\u81f3\u4e8e\u7b14\u7eb8\u989c\u8272\uff0c\u5374\u8fdc\u6bd4\u4e2d\u56fd\u5b8c\u5907\uff0c\u4fbf\u5229\uff0c\u8fd9\u662f\u5230\u8fc7\u4e1c\u4eac\u7684\u4eba\u4fbf\u53ef\u77e5\u9053\u7684\u3002\u540c\u65f6\u65e5\u672c\u753b\u5bb6\uff0c\u53c8\u975e\u5e38\u7fa1\u6155\u4e2d\u56fd\u7684\u81ea\u7136\uff0c\u5e38\u5e38\u5230\u4e2d\u56fd\u6765\u5199\u751f\uff0c\u50cf\u4eac\u90fd\u7684\u7af9\u5185\u6816\u51e4\u6c0f\u548c\u6865\u672c\u5173\u96ea\u6c0f\uff0c\u4ed6\u4eec\u753b\u7684\u82cf\u5dde\u666f\u7269\uff0c\u5df2\u6210\u540d\u4f5c\u3002\u82cf\u5dde\u4e5f\u4e0d\u5c11\u753b\u5bb6\uff0c\u4e3a\u4f55\u6ca1\u6709\u5730\u65b9\u6027\u548c\u65f6\u4ee3\u6027\u7684\u4f5c\u54c1\uff1f\u8fd9\u53c8\u7275\u5230\u4e2d\u56fd\u753b\u6d41\u6d3e\u5316\u7684\u9898\u4e0a\u53bb\u4e86\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Although Japanese painters do not paint in a completely Chinese way, their skills and materials mostly accord with traditional Chinese painting. In particular, the skills of rendering (xuanran<\/em> \u6e32\u67d3)\u00a0in Nihonga <\/em>are all from the rendering\u00a0of Song Dynasty paintings, which may not be very well understood by Chinese artists nowadays (this method has been lost in China for a long time). For more illustrations, silk for painting (huajuan\u00a0<\/em>\u753b\u7ee2), jute paper (mazhi\u00a0<\/em>\u9ebb\u7eb8) and blue and green color pigments (qinglv<\/em> \u9752\u7eff) for shanshui\u00a0<\/em>paintings are all delicately produced in Japan while hard to find in China.[28]<\/sup><\/a><\/p>\r\n<\/td>\r\n

\r\n

\u65e5\u672c\u7684\u753b\u5bb6\uff0c\u867d\u7136\u4e0d\u4f5c\u7eaf\u4e2d\u56fd\u98ce\u7684\u753b\uff0c\u800c\u4ed6\u4eec\u65b9\u6cd5\u6750\u6599\uff0c\u5219\u8fd8\u591a\u662f\u4e2d\u56fd\u7684\u53e4\u6cd5\u5b50\uff0c\u5c24\u5176\u662f\u6e32\u67d3\u66f4\u5168\u662f\u5b8b\u4eba\u65b9\u6cd5\u4e86\uff0c\u8fd9\u4e5f\u8bb8\u4e2d\u56fd\u7684\u753b\u5bb6\u4eec\u8fd8\u4e0d\u5341\u5206\u61c2\u5f97\u7684\uff0c\u56e0\u8fd9\u65b9\u6cd5\u6211\u56fd\u4e45\u5df2\u5931\u4f20\u3002\u8b6c\u5982\u753b\u7ee2\u3001\u9ebb\u7eb8\u3001\u5c71\u6c34\u4e0a\u7528\u7684\u9752\u7eff\u989c\u8272\uff0c\u65e5\u672c\u7684\u90fd\u975e\u5e38\u7cbe\u81f4\uff0c\u6709\u7684\u4e2d\u56fd\u5e76\u65e0\u5236\u9020\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

To be sure, over the past two decades, China has increased its contacts with Japan in many aspects, including conversations among painters, and we cannot deny that Chinese painting has been influenced directly or indirectly by Japan. However, from the professional perspective of painting skills, it is held that adopting the Japanese approach does not imply we are being Japanized, but rather that we are learning from ourselves. The skills and approaches of traditional Chinese painting have either not been popularized enough or past generations have failed in handing them down. So, we shall turn to Japan to take them back.<\/p>\r\n<\/td>\r\n

\r\n

\u4e2d\u56fd\u8fd1\u4e8c\u5341\u51e0\u5e74\uff0c\u81ea\u7136\u5728\u8bb8\u591a\u65b9\u9762\u548c\u65e5\u672c\u63a5\u89e6\u7684\u673a\u4f1a\u589e\u591a\uff0c\u5c31\u753b\u5bb6\u8bba\uff0c\u6765\u5f80\u7684\u4e5f\u4e0d\u5c11\u3002\u76f4\u63a5\u95f4\u63a5\u90fd\u53d7\u7740\u76f8\u5f53\u7684\u5f71\u54cd\u3002\u4e0d\u8fc7\u4e13\u5bb6\u4ece\u7ed8\u753b\u7684\u65b9\u6cd5\u4e0a\u8bb2\uff0c\u91c7\u53d6\u65e5\u672c\u7684\u65b9\u6cd5\uff0c\u4e0d\u80fd\u8bf4\u662f\u65e5\u672c\u5316\uff0c\u800c\u5e94\u5f53\u8ba4\u4e3a\u662f\u5b66\u81ea\u5df1\u7684\u3002\u56e0\u4e3a\u81ea\u5df1\u4e0d\u666e\u904d\uff0c\u6216\u5df2\u5931\u4f20\uff0c\u6216\u662f\u4e0d\u7528\u4e86\uff0c\u8f6c\u5411\u65e5\u672c\u91c7\u53d6\u800c\u56de\u7684\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

As for those conservative painters, their minds are full of the painting methods from the ancient painters. However, they often follow the beaten track and stick to outdated methods. Most of them look down upon works that are even slightly different from traditional paintings. We are well aware that Chinese paintings are in an over-structured mode and should be given new life and meaning to make them fit into the present age. However, when recalling the recent past, although several masters engaged in this innovative movement, such as Gao Jianfu, I am afraid that they also encountered unexpected obstacles and were attacked and pushed aside by traditional painters.<\/p>\r\n<\/td>\r\n

\r\n

\u4fdd\u5b88\u7684\u753b\u5bb6\u4eec\uff0c\u6ee1\u773c\u6ee1\u8111\u5b50\u7684\u201c\u53e4\u4eba\u201d\uff0c\u5f80\u5f80\u53c8\u201c\u98df\u53e4\u4e0d\u5316\u201d\u201c\u6b7b\u5b88\u6210\u6cd5\u201d\u3002\u5bf9\u4e8e\u7a0d\u7a0d\u8868\u73b0\u4e0d\u540c\u7684\u4f5c\u54c1\uff0c\u591a\u534a\u52a0\u4ee5\u767d\u773c\uff0c\u55e4\u4e4b\u4ee5\u9f3b\u3002\u6211\u4eec\u5f88\u660e\u767d\u7684\u4e2d\u56fd\u7684\u753b\u50f5\u4e86\uff0c\u5e94\u8be5\u91cd\u65b0\u8d4b\u4e88\u65b0\u7684\u751f\u547d\uff0c\u65b0\u7684\u9762\u76ee\uff0c\u4f7f\u9002\u5408\u5f53\u65f6\u4ee3\u7684\u4e00\u5207\u3002\u7136\u800c\u56de\u60f3\u6700\u8fd1\u7684\u8fc7\u53bb\uff0c\u867d\u7136\u6709\u51e0\u4f4d\u5148\u751f\u4ece\u4e8b\u8fd9\u79cd\u9769\u65b0\u7684\u8fd0\u52a8\u2014\u2014\u5982\u9ad8\u5251\u7236\u7b49\u2014\u2014\uff0c\u6050\u6015\u4e5f\u5230\u5904\u906d\u9047\u7740\u610f\u5916\u7684\u963b\u788d\u3002\u53d7\u7740\u4f20\u7edf\u753b\u5bb6\u4eec\u7684\u6392\u6324\u653b\u51fb\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

I have to repeat what I have already mentioned. Chinese culture developed in the west of the country, from the Yellow River Basin to the Yangtze River Basin, and then to the Pearl River Basin. As for East Asian culture, it was developed from Tianshan in the east to Korea and then to Japan. If you separate and look at the development of culture in different countries from the present situation, according to my personal opinion, it seems that how developed a culture is can be regarded as an inverse proportion with time. That is, where the culture develops earlier, the worse the situation is now. On the contrary, where the culture develops later, the better the culture is developed now. In the East Asian context, Japan developed the latest and India developed the earliest, but India is in the worst situation now. In China, the Pearl River Basin is the youngest, the northwest of the Yellow River is the oldest, but is also in the worst situation now. If we were to take this supposition, then the innovation of Chinese painting should be counted on the Pearl River Basin. Zhu Qianzhi said the following words, with which I agree wholeheartedly:[29]<\/sup><\/a><\/p>\r\n<\/td>\r\n

\r\n

\u53c8\u8981\u8bf4\u51e0\u53e5\u65e7\u8bdd\u4e86\u3002\u4e2d\u56fd\u7684\u6587\u5316\uff0c\u662f\u4ece\u897f\u6765\u7684\uff0c\u662f\u4ece\u9ec4\u6cb3\u6d41\u57df\u53d1\u5c55\u5230\u957f\u6c5f\u6d41\u57df\uff0c\u518d\u5230\u73e0\u6c5f\u6d41\u57df\u7684\u3002\u5c31\u4e1c\u6d0b\u8a00\uff0c\u662f\u4ece\u5929\u5c71\u4e1c\u8d70\uff0c\u5230\u671d\u9c9c\uff0c\u518d\u5230\u65e5\u672c\u7684\u3002\u82e5\u662f\u622a\u5f00\u6765\u7684\u770b\uff0c\u5728\u73b0\u5728\u7684\u60c5\u51b5\uff0c\u636e\u4e2a\u4eba\u7684\u7ba1\u89c1\uff0c\u4f3c\u4e4e\u53ef\u4ee5\u628a\u6587\u5316\u7684\u9ad8\u4e0b\uff0c\u968f\u65f6\u4ee3\u770b\u6210\u4e00\u4e2a\u53cd\u6bd4\u4f8b\u3002\u5373\u662f\u6587\u5316\u53d1\u8fbe\u6108\u65e9\u7684\u5730\u65b9\uff0c\u73b0\u5728\u6108\u4e0d\u884c\uff0c\u6108\u5012\u9709\uff0c\u53cd\u4e4b\u6587\u5316\u540e\u8d77\u7684\u5730\u65b9\u5219\u6108\u524d\u8fdb\u6108\u5389\u5bb3\u3002\u5728\u4e1c\u6d0b\uff0c\u65e5\u672c\u662f\u540e\u8d77\u7684\uff0c\u5370\u5ea6\u6700\u53e4\uff0c\u4f46\u4e5f\u6700\u82e6\u3002\u5728\u4e2d\u56fd\uff0c\u73e0\u6c5f\u6d41\u57df\u662f\u540e\u8d77\u7684\uff0c\u9ec4\u6cb3\u7684\u897f\u5317\u6700\u53e4\uff0c\u4f46\u4e5f\u6700\u82e6\u3002\u5047\u5982\u8fd9\u79cd\u63a8\u60f3\u6709\u70b9\u50cf\uff0c\u90a3\u4e48\uff0c\u4e2d\u56fd\u753b\u7684\u9769\u65b0\u6216\u8005\u8981\u5e0c\u671b\u73e0\u6c5f\u6d41\u57df\u4e86\u3002\u6731\u8c26\u4e4b\u8bf4\u8fc7\u4e0b\u9762\u4e00\u6bb5\u8bdd\uff0c\u6211\u975e\u5e38\u540c\u60c5\u3002\u4ed6\u8bf4\uff1a<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

\u201cUndoubtedly, the only hope for the Chinese nation to survive is the south part of China, which is the Pearl River Basin. The north part of China expresses conservative culture on politics; its characteristic is obedience not resistance. The characteristic of progressive culture in the middle part of China is conformity rather than resistance. Only the South can truly express revolutionary culture. Its cultural characteristic is resistance to the Western powers and that is exactly the revolutionary culture that China needs now.\u201d (Appendix to Cultural Philosophy <\/em>Southern Cultural Movement Business, Page 261-262)<\/p>\r\n<\/td>\r\n

\r\n

\u8981\u4f7f\u4e2d\u534e\u6c11\u65cf\u4e0d\u4ea1\uff0c\u552f\u4e00\u7684\u5e0c\u671b\uff0c\u65e0\u7591\u4e4e\u53ea\u6709\u5357\u65b9\uff0c\u53ea\u5728\u5357\u65b9\u5373\u73e0\u6c5f\u6d41\u57df\u3002\u5317\u65b9\u5728\u653f\u6cbb\u4e0a\u8868\u73b0\u4fdd\u5b88\u7684\u6587\u5316\uff0c\u5176\u7279\u8d28\u4e3a\u670d\u4ece\u800c\u975e\u62b5\u6297\uff1b\u4e2d\u90e8\u8868\u73b0\u8fdb\u6b65\u7684\u6587\u5316\u5176\u7279\u8d28\u4e3a\u987a\u5e94\u4ea6\u975e\u62b5\u6297\uff0c\u53ea\u6709\u5357\u65b9\u624d\u771f\u6b63\u8868\u73b0\u9769\u547d\u7684\u6587\u5316\uff0c\u5176\u6587\u5316\u7279\u8d28\u5c31\u662f\u53cd\u6297\u5f3a\u6743\uff0c\u73b0\u5728\u4e2d\u56fd\u6240\u9700\u8981\u7684\u6b63\u662f\u53cd\u6297\u5f3a\u6743\u4e4b\u9769\u547d\u7684\u6587\u5316\u3002\u2026 \u2026 \u2026\uff08\u6587\u5316\u54f2\u5b66\u9644\u5f55\u5357\u65b9\u6587\u5316\u8fd0\u52a8\u5546\u52a1\u7248\u9875\u4e8c\u516d\u4e00\u2014\u2014\u4e8c\u516d\u4e8c\uff09<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Although Zhu’s words are based on the overall views of culture, it is truly the most meaningful and interesting thing to observe the painters I mentioned before through this territorial (cultural development) lens. To sum up and draw a conclusion: since the Southern Song Dynasty, Chinese literati paintings have flourished, but they have formed different schools. Its influence has remained intact until now. Because the traditional forces are so strong, it is very difficult for \u201cobedient\u201d and \u201cconformist\u201d painters to reform.<\/p>\r\n<\/td>\r\n

\r\n

\u6731\u6c0f\u7684\u8bdd\uff0c\u867d\u4ece\u6587\u5316\u7684\u5168\u4f53\u7acb\u8bba\uff0c\u82e5\u8bd5\u628a\u6211\u524d\u9762\u63d0\u53ca\u753b\u5bb6\u6309\u7740\u5730\u7406\u53bb\u89c2\u5bdf\uff0c\u5b9e\u5728\u6700\u6709\u610f\u4e49\u4e14\u6700\u6709\u8da3\u5473\u7684\u3002\u603b\u62ec\u4e00\u4e0b\uff0c\u7acb\u6b64\u7ed3\u8bba\uff1a\u4e2d\u56fd\u4ece\u5357\u5b8b\u4ee5\u540e\u6587\u4eba\u753b\u5927\u76db\uff0c\u4f46\u5f62\u6210\u4e86\u201c\u6d41\u6d3e\u5316\u201d\u3002\u5176\u5f71\u54cd\u76f4\u81f3\u4eca\u65e5\u8fd8\u5b89\u7136\u672a\u52a8\u3002\u56e0\u4e3a\u4f20\u7edf\u7684\u52bf\u529b\u592a\u70c8\uff0c\u201c\u670d\u4ece\u201d\u201c\u987a\u5e94\u201d\u7684\u753b\u5bb6\uff0c\u662f\u5f88\u96be\u6709\u6240\u6539\u9769\u7684\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Since the establishment of the Republic of China, whether we are discussing the drawing of flowers, birds or landscapes, all paintings inherited the traditions of bygone eras. Although there are several outstanding works, we cannot say that Chinese paintings have made progress. Masters of art education and celebrities who like collecting Chinese paintings: please stop holding back new creations and new attempts. Otherwise, Chinese painting will fall behind. Please do not heap praise on works that subordinate or conform to traditions. It will be a slap in the face for people who want to reform.<\/p>\r\n<\/td>\r\n

\r\n

\u6c11\u56fd\u4ee5\u6765\uff0c\u65e0\u8bba\u82b1\u9e1f\u5c71\u6c34\u2026 \u2026 \u2026\u8fd8\u662f\u56e0\u88ad\u524d\u671f\u7684\u4f20\u7edf\uff0c\u4ec5\u7ba1\u6709\u6781\u7cbe\u7684\u4f5c\u54c1\uff0c\u7136\u4e0d\u80fd\u8bf4\u4e2d\u56fd\u753b\u6709\u4e86\u8fdb\u6b65\u3002\u4e0e\u827a\u672f\u6559\u80b2\u6709\u5173\u7684\u5148\u751f\u4eec\u4e43\u81f3\u559c\u6b22\u73a9\u73a9\u4e2d\u56fd\u753b\u7684\u540d\u6d41\u4eec\uff0c\u8bf7\u4e0d\u518d\u904f\u6b62\u65b0\u7684\u521b\u4f5c\uff0c\u65b0\u7684\u5c1d\u8bd5\u3002\u5426\u5219\u4e2d\u56fd\u753b\u53ea\u6709\u5411\u540e\u8f6c\u7684\u3002\u8bf7\u4e0d\u5fc5\u8fc7\u4e8b\u9882\u626c\u670d\u4ece\u6216\u987a\u5e94\u4f20\u7edf\u7684\u4f5c\u54c1\uff0c\u8fd9\u6837\u7b49\u4e8e\u6253\u6709\u5fd7\u6539\u9769\u8005\u7684\u8033\u5149\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

The times are moving on. What about Chinese painting? No matter whether it is Westernized, Indianized or Japanized, when Chinese painters are trying to reform, they should refer to the outside world. Only those who obey and conform to traditions are out of date.<\/p>\r\n<\/td>\r\n

\r\n

\u65f6\u4ee3\u662f\u524d\u8fdb\u7684\uff0c\u4e2d\u56fd\u753b\u5462\uff1f\u897f\u6d0b\u5316\u4e5f\u597d\uff0c\u5370\u5ea6\u5316\u4e5f\u597d\uff0c\u65e5\u672c\u5316\u4e5f\u597d\uff0c\u5728\u5bfb\u6c42\u51fa\u8def\u7684\u65f6\u5019\uff0c\u4e0d\u59a8\u591a\u65b9\u8d70\u8d70\uff0c\u53ea\u6709\u670d\u4ece\u987a\u5e94\u7684\uff0c\u624d\u662f\u843d\u4f0d\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<\/figure>\r\n
\r\n

References<\/strong><\/p>\r\n

1. Translator\u2019s note: the 26th year of the Republic of China is 1937 C.E.<\/p>\r\n

2.\u00a0Translator\u2019s note: Four Wangs, Yun and Wu respectively refers to Wang Shimin (\u738b\u65f6\u654f; 1592-1680), Wang Jian (\u738b\u9274; 1598-1677), Wang Hui (\u738b\u7fda; 1632-1717), Wang Yuanqi (\u738b\u539f\u7941; 1642-1715), Wu Li (\u5434\u5386; 1632-1718) and Yun Shou (\u607d\u5bff; 1633-1690).\u00a0Wen, Shen, Tang and Qiu respectively refers to Wen Zhengming (\u6587\u5f81\u660e; 1470-1559), Shen Zhou (\u6c88\u5468; 1427-1509), Tang Yin (\u5510\u5bc5; 1470-1524) and Qiu Ying (\u4ec7\u82f1; 1482-1559).<\/p>\r\n

3.\u00a0Translator\u2019s note: based upon an existing translation in: Chang Taiping, A Dictionary of Chinese Literature<\/em> (London: Oxford University Press, 2017), 12. Xingling\u00a0<\/em>\u6027\u7075 was originally a theory proposed by Yuan Mei (\u8881\u679a; 1716-1798), a poet in the Qing dynasty.<\/p>\r\n

4.\u00a0Translator\u2019s note:\u300a\u4e2d\u56fd\u6587\u4eba\u753b\u4e4b\u4ef7\u503c\u300b(zhongguo wenrenhua zhi jiazhi<\/em>) is an article from the book Research on Chinese Literati Painting<\/em>, written by Seigai \u014cmura (dacun xiya<\/em> \u5927\u6751\u897f\u5d16; 1867-1927) and translated by Chen Shizeng.<\/p>\r\n

5. Translator\u2019s note: the original statement is \u2018\u4e66\uff0c\u5fc3\u753b\u4e5f (Shu Xinhua ye<\/em>)\u2019 written by Yang Ziyun (\u626c\u5b50\u4e91; 53 BCE\u201318 CE) who was a poet and philosopher of the Han dynasty better known as Yang Xiong (\u6768\u96c4).\u00a0\u201c\u5176\u4e3a\u4eba\u4e5f\u65e0\u6587\uff0c\u867d\u6709\u6653\u753b\u8005\u5be1\u77e3\u201d from Huaji<\/em> \u753b\u7ee7 [History of painting] , a book written by Deng Chun who was a famous critic in the Song dynasty.<\/p>\r\n

6. Translator\u2019s note: \u201c\u60a0\u7136\u89c1\u5357\u5c71\u201d (youran jian nanshan<\/em>) was adopted from the poem Drinking Wine 5,<\/em> Tao Yuanming (\u9676\u6e0a\u660e; 365?-427). \u201cI pick fence-side asters at will; Carefree I see the southern hill\u201d.<\/p>\r\n

7. Translator\u2019s note: Wu Changshuo (\u5434\u660c\u7855; 1844-1927) was a famous painter and expert in seal carving.<\/p>\r\n

8. Translator\u2019s note: inscriptions on drum-shaped stone blocks of the Warring States Period (475-221 B. C.)<\/p>\r\n

9. Translator\u2019s note: Qi Baishi (\u9f50\u767d\u77f3; 1864-1957) was a famous painter of Chinese traditional painting.<\/p>\r\n

10. Translator\u2019s note: Ouxiangguan<\/em> (\u74ef\u9999\u9986) is the former residence of a famous painter, Yun Nantian (\u607d\u5357\u7530; 1633-1690).<\/p>\r\n

11. Translator\u2019s note: Shanyin Renshi refers to the painter Ren Bonian (\u4efb\u4f2f\u5e74; 1840-1895). Jin Dongxin refers to the painter Jin Nong (\u91d1\u519c; 1687-1763).<\/p>\r\n

12.\u00a0Translator\u2019s note: “Mustard Seed Garden” is the name of the garden built by Li Yu, and also the name of the bookstore opened by him. More importantly, “Mustard Seed Garden” is the name of a set of painting compiled by Li Yu. \u201cManual of the Mustard Seed Garden<\/em>, written in 1679, is the earliest textbook of Chinese painting and its influence lasts for three centuries\u201d. \u201cJieziyuan Huazhuan<\/em> \u82a5\u5b50\u56ed\u753b\u4f20\u201d [Manual of the Mustard Seed Garden], last modified May 10, 2018, https:\/\/en.wikipedia.org\/wiki\/Manual_of_the_Mustard_Seed_Garden<\/a> (accessed May 23,2019)<\/p>\r\n

Ren Yi (\u4efb\u9824; 1840-1896) \u201cwas noted for his bold brushstrokes and use of color\u201d. \u201cShijia shanshui<\/em> \u5341\u4f73\u5c71\u6c34\u201d [Ten Magnificent Landscapes], last modified May 12, 2019, https:\/\/en.wikipedia.org\/wiki\/Ren_Bonian<\/a>. (accessed May 23, 2019)<\/p>\r\n

Yang Borun (\u6768\u4f2f\u6da6; 1837-1911) was \u201ca well-known Chinese poet, calligrapher, and painter of the Shanghai School\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified May 12, 2019, https:\/\/en.wikipedia.org\/wiki\/Yang_Borun<\/a>. (accessed May 23, 2019)<\/p>\r\n

13.\u00a0Translator\u2019s note: Lu Hui (\u9646\u6062; 1851-1920) was a famous landscape painter.<\/p>\r\n

Qin Zuyong (\u79e6\u7956\u6c38; 1825-1844) was \u201ca calligrapher and a painter\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified April 20, 2013, https:\/\/zh.wikipedia.org\/wiki\/%E7%A7%A6%E7%A5%96%E6%B0%B8<\/a>. (accessed May 24, 2019)<\/p>\r\n

14. Translator\u2019s note: Wu Zheng (\u5434\u5f81; 1878-1949) was \u201ca representative painter of the Shanghai School\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified August 28, 2017, https:\/\/zh.wikipedia.org\/wiki\/%E5%90%B4%E5%BE%81_(%E7%94%BB%E5%AE%B6)<\/a>. (accessed May 24, 2019)<\/p>\r\n

Tang Dingzhi (\u6c64\u5b9a\u4e4b; 1878-1948) was \u201can excellent painter in Beijing during the Republic of China\u201d. \u201cBaidu baike \u767e\u5ea6\u767e\u79d1\u201d [Baidu encyclopedia], https:\/\/baike.baidu.com\/item\/%E6%B1%A4%E5%AE%9A%E4%B9%8B<\/a>. (accessed May 24, 2019)<\/p>\r\n

15. Translator\u2019s note: Xiao Junxian\u2019s (\u8427\u4fca\u8d24; 1865-1949) \u201ccourtesy name is Zhiquan. He specialized in landscape painting\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified March 6, 2014, https:\/\/zh.wikipedia.org\/wiki\/%E8%90%A7%E4%BF%8A%E8%B4%A4<\/a>. (accessed May 24, 2019)<\/p>\r\n

Fu Xinyu (\u5085\u5fc3\u7572; 1896-1963) \u201cwas good at painting landscapes, figures and flowers. He adopted the painting principles from the Song and Yuan dynasties\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified March 14, 2019, https:\/\/zh.wikipedia.org\/wiki\/%E6%BA%A5%E5%BF%83%E7%95%AC<\/a>. (accessed May 24, 2019)<\/p>\r\n

Zhang Daqian (\u5f20\u5927\u5343; 1899-1983) was \u201coriginally known as a guohua<\/em> (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified April 1, 2019, https:\/\/en.wikipedia.org\/wiki\/Zhang_Daqian<\/a>. (accessed May 24, 2019)<\/p>\r\n

Hu Peiheng (\u80e1\u4f69\u8861; 1892-1962) was \u201ca landscape painter in modern China\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified October 24, 2018,https:\/\/zh.wikipedia.org\/wiki\/%E8%83%A1%E4%BD%A9%E8%A1%A1<\/a>. (accessed May 24, 2019)<\/p>\r\n

16. Translator\u2019s note: Shi Tao\u2019s (\u77f3\u6d9b; 1642-1707) \u201ccourtesy name is Qingxianglaoren<\/em> (\u6e05\u6e58\u8001\u4eba). He was Chinese painter and theoretician and was one of the most famous of the Individualist painters in the early Qing period\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified April 21, 2019,https:\/\/en.wikipedia.org\/wiki\/Shitao<\/a>. (accessed May 24, 2019)<\/p>\r\n

17. Translator\u2019s note: Tenp\u014d (\u5929\u4fdd) was \u201ca Japanese era name after Bunsei and before K\u014dka\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified April 14, 2018,https:\/\/en.wikipedia.org\/wiki\/Tenp%C5%8D<\/a>. (accessed May 24, 2019)<\/p>\r\n

Tani Bunch\u014d (\u8c37\u6587\u6641; 1763-1841) was \u201ca Japanese literati painter\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified March 20, 2018,https:\/\/en.wikipedia.org\/wiki\/Tani_Bunch%C5%8D<\/a>. (accessed May 24, 2019)<\/p>\r\n

Watanabe Kazan (\u6e21\u8fb9\u534e\u5c71; 1793-1841) was \u201ca Japanese painter and scholar\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified May 25, 2018,https:\/\/en.wikipedia.org\/wiki\/Watanabe_Kazan<\/a>. (accessed May 24, 2019)<\/p>\r\n

18. Translator\u2019s note: Chen Shuren (\u9648\u6811\u4eba;1884-1948) was \u201cone of the leaders of the Lingnan school of painting\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified March 27, 2019, https:\/\/en.wikipedia.org\/wiki\/Chen_Shuren<\/a>. (accessed May 24, 2019)<\/p>\r\n

Gao Jianfu (\u9ad8\u5251\u7236; 1879-1951) was \u201ca Cantonese artist during World War II. He is known for leading the Lingnan School’s effort to modernize Chinese traditional painting as a \u2018new national art\u2019\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified May 16, 2019, https:\/\/en.wikipedia.org\/wiki\/Gao_Jianfu<\/a>. (accessed May 24, 2019)<\/p>\r\n

Gao Qifeng (\u9ad8\u5947\u5cef; 1889-1933) was \u201c Gao Jianfu\u2019s brother, was one of the leaders of the Lingnan school of painting together with Chen Shuren and Gao Jianfu\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified May 16, 2019, https:\/\/en.wikipedia.org\/wiki\/Gao_Jianfu<\/a>. (accessed May 24, 2019)<\/p>\r\n

Xu Beihong (\u5f90\u60b2\u9e3f; 1895-1953) was \u201cprimarily known for his Chinese ink painting of horses and birds and was one of the first Chinese artists to articulate the need for artistic expressions that reflected a modern China at the beginning of the 20th century\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified May 14, 2019, https:\/\/en.wikipedia.org\/wiki\/Xu_Beihong<\/a>. (accessed May 24, 2019)<\/p>\r\n

Liu Haisu (\u5218\u6d77\u7c9f; 1896-1994 ) was \u201ca prominent twentieth-century Chinese painter and a noted art educator. He excelled in Chinese painting and oil painting. He was one of the four pioneers of Chinese modern art who earned the title of \u2018The Four Great Academy Presidents\u2019\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified May 12, 2019, https:\/\/en.wikipedia.org\/wiki\/Liu_Haisu<\/a>. (accessed May 24, 2019)<\/p>\r\n

19. Translator\u2019s note: at present, \u201cSouth of the Nanling Mountains (Lingnan<\/em>\u5cad\u5357) refers to Guangdong, Guangxi, Hainan, Hong Kong and Macao\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified May 4, 2019, https:\/\/en.wikipedia.org\/wiki\/Lingnan<\/a>. (accessed May 24, 2019)<\/p>\r\n

20. Translator\u2019s note: \u201cChun Shui<\/em> Painting Academy (\u6625\u7761\u753b\u9662) was bought and reconstructed by Gao Jianfu. Chun Shui<\/em> generates from a poem of Zhuge Liang \u201c\u8349\u5802\u6625\u7761\u8db3\uff0c\u7a97\u5916\u65e5\u8fdf\u8fdf\u201d. Michael Sullivan\u8fc8\u514b\u5c14\u00b7\u82cf\u7acb\u6587, Dangdai Zhongguo yishujia: yiben renwu zhuanji cidian<\/em> \u5f53\u4ee3\u4e2d\u56fd\u827a\u672f\u5bb6\uff1a\u4e00\u672c\u4eba\u7269\u4f20\u8bb0\u8bcd\u5178 [Modern Chinese Artists: A Biographical Dictionary] (US: University of California Press, 2006), 249.<\/p>\r\n

21. Translator\u2019s note: Fang Rending (\u65b9\u4eba\u5b9a; 1901-1975) was \u201ca painter of the Shanghai School, well versed in drawings\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified March 6, 2018, https:\/\/zh.wikipedia.org\/wiki\/%E6%96%B9%E4%BA%BA%E5%AE%9A<\/a>. (accessed May 24, 2019)<\/p>\r\n

Li Xiongcai (\u9ece\u96c4\u624d; 1910-2001) was \u201ca painter of the Shanghai School, famous for landscape painting\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified January 28, 2019, https:\/\/zh.wikipedia.org\/wiki\/%E9%BB%8E%E9%9B%84%E6%89%8D<\/a>. (accessed May 24, 2019)<\/p>\r\n

Rong Dakuai (\u5bb9\u5927\u5757; 1901-1963) was \u201cone of the earliest members of the Chun Shui Painting Academy, proficient in painting landscape, flowers, birds etc\u201d. \u201cBaidu baike \u767e\u5ea6\u767e\u79d1\u201d [Baidu encyclopedia], https:\/\/baike.baidu.com\/item\/%E5%AE%B9%E5%A4%A7%E5%9D%97<\/a>. (accessed May 24, 2019)<\/p>\r\n

22. Translator\u2019s note: \u201csketching (zhouca<\/em>\u76b1\u64e6) is a typical painting method used in traditional Chinese painting, generally refers to using different brush strokes to rub out the wrinkle texture of mountains, trees, leaves\u2026\u201d. \u201cWeiji baike \u7ef4\u57fa\u767e\u79d1\u201d [Wikipedia], last modified March 31, 2019, https:\/\/en.wikipedia.org\/wiki\/Sketch_(drawing)<\/a>. (accessed May 24, 2019)<\/p>\r\n

23. Translator\u2019s note: K\u014dno Bairei\u00a0(\u5e78\u91ce\u6885\u5cad; 1844-1895) was a Japanese painter and art teacher.<\/p>\r\n

Watanabe Sh\u014dtei\u00a0aka\u00a0Watanabe Seitei\u00a0(\u6e21\u8fb9\u7701\u4ead; 1851-1918) was a\u00a0Nihonga\u00a0painter and one of the first to visit Europe, attending the\u00a01878 International Exhibition\u00a0in Paris.<\/p>\r\n

Hashimoto Kansetsu (\u6865\u672c\u5173\u96ea; 1883-1945) was a Nihonga<\/em> painter who was active in the Kyoto art world during the Showa and Taisho eras.<\/p>\r\n

Shanshui<\/em>\u5c71\u6c34is a style of traditional\u00a0Chinese painting\u00a0that involves or depicts\u00a0scenery\u00a0or natural\u00a0landscapes.<\/p>\r\n

Yokoyama Taikan\u00a0(\u6a2a\u5c71\u5927\u89c2; 1868-1958) is a\u00a0Nihonga<\/em> painter in\u00a0Pre-World War II\u00a0Japanese painting.<\/p>\r\n

Nihonga<\/em>\u00a0<\/em>(Ribenhua<\/em>, \u65e5\u672c\u753b) is the Japanese-style painting.<\/p>\r\n

24. Translator\u2019s note: Southern School (Nanzonghua<\/em>, \u5357\u5b97\u753b) is a school of Chinese painting focuses on expressive brushstrokes and considered to have inspired Nanga<\/em> (\u5357\u753b) of Japanese paintings.<\/p>\r\n

25. Translator\u2019s note: Nanga<\/em> (Nanhua<\/em>,\u00a0\u5357\u753b) is also known as\u00a0Bunjinga<\/em>\u00a0(Wenrenhua<\/em>, \u6587\u4eba\u753b), a school of\u00a0Japanese painting\u00a0which flourished in the late\u00a0<\/em>Etoperiod among artists who considered themselves\u00a0literati, or intellectuals.\u00a0<\/p>\r\n

26. Translator\u2019s note: Guazhou <\/em>\u6302\u8f74, also known as hanging scroll, is one of the traditional ways to display and exhibit works of Chinese painting and calligraphy.<\/p>\r\n

27. Translator\u2019s note: Takeuchi Seih\u014d\u00a0(\u7af9\u5185\u6816\u51e4; 1864-1942) was a\u00a0pseudonym of a\u00a0Japanese\u00a0painter of the\u00a0Nihonga<\/em>\u00a0genre, active from the\u00a0Meiji\u00a0through the early\u00a0Showa period.<\/p>\r\n

Hashimoto Kansetsu\u00a0(\u6865\u672c\u5173\u96ea; 1883- 1945) was a painter of\u00a0Nihonga<\/em> who was active in the\u00a0Kyoto\u00a0art world during the\u00a0Showa and\u00a0Taisho\u00a0eras.<\/p>\r\n

28. Translator\u2019s note: xuanran<\/em> \u6e32\u67d3 is a painting skill also known as rendering.<\/p>\r\n

Huajuan<\/em>\u753b\u7ee2 is a fabric made by silk for painting.<\/p>\r\n

mazhi<\/em>\u9ebb\u7eb8 is a kind of tenacious paper mainly made by jute.<\/p>\r\n

qinglv<\/em>\u9752\u7eff is a blue and green pigment that is often used in shanshui<\/em> paintings.<\/p>\r\n

29. Translator\u2019s note: Zhu Qianzhi (\u6731\u8c26\u4e4b; 1899-1972) was a Chinese intellectual, translator and historian.<\/p>\r\n

\r\n

\"Creative<\/a>
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"

Translated by Jiren Liu, Lei Hou, Wenying Pan, Lu Zong,…<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[6,4],"tags":[],"_links":{"self":[{"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/posts\/502"}],"collection":[{"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/comments?post=502"}],"version-history":[{"count":10,"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/posts\/502\/revisions"}],"predecessor-version":[{"id":513,"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/posts\/502\/revisions\/513"}],"wp:attachment":[{"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/media?parent=502"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/categories?post=502"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinioentraduko.com\/zh\/wp-json\/wp\/v2\/tags?post=502"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}