On the characteristics of landscape painting in southern song dynasty. Four Schools of Painting in Southern Song Dynasty and Their Painting Characteristics

In the Southern Song Dynasty, "seeing the big from the small" became the most important method for painters to create and appreciate, and it was the aesthetic reflection of the painting form of "Corner Scene". At this time, "small" is no longer a reduced panoramic landscape, but a concentrated point, which is refined by the painter through in-depth observation and deep understanding of the object, and this point serves as the window of the soul and artistic conception of the object. Therefore, the creation of landscape painting in the Southern Song Dynasty no longer focuses on the grandeur of mountains and rivers, but turns to the inner life and implication of the object itself. This greatly enhanced the generality, implication and symbolism of painting in the Southern Song Dynasty, and made it possible to see the rare and the many, see the outside from the inside, see the far from the near, and see the feelings from the things. Chinese painting is keen on "small" interest and reached a peak in the Southern Song Dynasty.

In fact, this aesthetic thought of "seeing the big from the small" was very mature as early as the Northern Song Dynasty. The topics and standards of inspecting painters in the Northern Song Dynasty Painting Academy, such as "hiding ancient temples in the deep mountains", "stepping flowers to remove horseshoe fragrance", "selling restaurants with bamboo locks and small bridges" and "a little red among evergreen trees", fully show that "small" stands for "big" and "this" stands for "other", "infinite" and "limited", which are poetic inspirations and more philosophies.

Another important feature of the landscape painting style in the Southern Song Dynasty is the vigorous "axe chopping" of ink and wash, which is in the same strain as the local close-up "corner scene". The former is the product promoted by the latter, and it is a technological change that conforms to the morphological changes of the latter. "Corner view" changes the visual angle from "small in the big view" to "big in the small view", and visually changes from "looking at its potential from a distance" to "looking at its essence from a close perspective". In this way, the performance of the mountain becomes a description of rocks, including other vegetation and other things, and the picture will also change from hazy "potential" to practical "texture". The previous raindrops, Pima, Yun Toucun and Sloppy are no longer suitable for this kind of performance, so the chopping axe came into being. In particular, the corner scenes and local close-ups return to the big picture of long scroll vertical axis from small fan, which further magnifies and highlights the hard and dignified texture of rocks and other things, and the edge pen chopped by the axe is sharp and sharp, which can just achieve the texture effect needed by the picture.

Some people think that the fierce "axe chopping" stems from the tragic, generous and intense feelings of patriotic painters in the Southern Song Dynasty. This similar political experience also happened in the late Ming and early Qing dynasties, but many painters, such as Jian Jiang and Xi Shi, did not like axe chopping. Therefore, it is not only unconvincing to interpret the corner view from a political perspective, but also doubtful to interpret the axe chop from a political perspective.

From the above aspects, it can be seen that the "change" of landscape in the Southern Song Dynasty occurred naturally according to the law of artistic development, and its conditions were fully paved as early as the previous generation, and it was first revealed in some paintings. This style of painting is not a special product of the times, and it is not a political portrayal of "residual water". On the one hand, the shape of the round fan sector has a normative and agreed role in the formation of "corner scene"; On the other hand, the painting with the theme of flowers and birds can play a role in demonstrating and inducing the formation of "corner scenery". Both of them flourished in the Song Dynasty and promoted each other's development, which promoted the formation of landscape painting "Corner Scene". Moreover, painters in the Northern Song Dynasty have the artistic thought and expressive ability of "seeing the big from the small", and the appearance of "corner scenery" is natural. "Corner scenery" also brought "axe chopping", and the overall landscape painting style of the Southern Song Dynasty also appeared on the scroll of China art history.

Su Hanchen and his master Liu Zonggu are both good at drawing figures, especially children. As far as we know, most of his works are seasonal posters with the nature of New Year pictures, which describe customs.

The Merchant Map describes a small vendor and his goods in detail, showing his interest in trivial things in daily life. The Five Ruitu describes a traditional opera performance called "Five Flowers Play" in the Song Dynasty, while the Hundred Flowers Spring Painting brings together children's various games and unfolds them on the screen at the same time. These are all paintings of the nature of New Year pictures. The content of the drama is the same as that of the spring Baizi, and the baby drama at three o'clock in the afternoon is suitable for Dragon Boat Festival. In addition, there is a children's painting adapted from the Double Ninth Festival. Children's themes are very common in genre paintings in the Song Dynasty.