Complete Collection of Chinese Painting (16), Ming Dynasty. Volume 7

Author: Ancient Chinese Painting and Calligraphy Appraisal Group
Publisher:
Publish Date: 2000-09-01
Features: During the late Ming period, Dong Qichang sought to revitalize literati painting by establishing a pure and orthodox model for literati painting. He proposed the concept of the "North-South School Theory" as a reverence for antiquity, the perceptual approach of "accidental and deliberate," the artistic path of "Dun Si-style," and emphasized the theory of "exquisite brushwork and ink," creating an artistic realm of "plain and natural simplicity," and pursuing the charm of literati spirit with a blend of rustic and refined tastes. In both theory and practice, he secured the dominant and orthodox status of literati painting in the art world, directly influencing the Qing dynasty. Meanwhile, although artists like Zhao Zuo, Jue Shi Chong, and Wu Zhen, who possessed certain school-specific characteristics, were integrated into Dong Qichang's system, even those who drew inspiration from Yuan masters and the "Wumen School" like Li Liufang and Bian Wenyu could not escape Dong Qichang's influence. Among them, Cheng Jiasui stood out with his personal style. He studied painting under the guidance of Song and Yuan masters, excelling in both artistic conception and elegance. In his later years, his artistic style approached that of the slightly later "Xin'an School," playing a certain role in the formation of the "Xin'an School," which revered Ni Zan. This volume features seven painters and eighty-five works.