a brief history of chinese paintings - 中國美術史

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A Brief History of Chinese Painting 4th Century – 20th Century A personal view on the development of painting in China All right reserved. Available free for non-commercial and not profit use only Jerry Tse, April 2006. London. Version 2.0.

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The Pre-history of Decorative Pictorial Arts Some of the oldest pictorial arts in China.

Chinese painting timeline : 

Chinese painting timeline

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The Beginning of Painting - The Archaic Period A clear distinction between art from craft is difficult to made. It is generally agreed that the history of Chinese painting began in the East Jin Dynasty ?? (317-420). The best known painter at the time was Gu Kaizhi ??? (346-407 AD). He was a court painter. None of his paintings survived but copies made centuries later had been attributed to him. This is nearly a thousand years before the development of painting in Europe. Shang ? c1600 - c1100 BC Zhou ? c1100 - 256 BC Qin ? 221 – 206 BC Han ? 206 BC – 220 AD Jin? 263 - 420 Three Kingdom ?? 220 – 265 Southern Dynasties ? ? 317 – 589 Northern Dynasties ? ? 386 - 581 Sui ? 581 – 618 Tang ? 618 – 907 Five Dynasty ?? 907 – 960 Ten Kingdom ?? 907 – 979 Song ? 960 – 1279 Yuan ? 1271 – 1368 Ming ? 1368 – 1644 Qing ? 1644 - 1911 Jin ? (317-420) ??

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Tang Dynasty – The Flowering of Chinese painting Tang ? (618 – 907) China returned to a period of stability and prosperity in Tang. The major genres of Chinese painting – Figure, Landscape, Flower & Bird, Buddhist and even monochrome ink painting, have their beginnings traced back to Tang. Pre-Tang is the Archaic period of Chinese painting and Tang is the foundation on which all types of Chinese paintings built on. Most of the famous painters of the time were court painters. ?

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Tang ? (618 – 907) ?

Palace Concert : 

Palace Concert Tang ? (618 – 907) ?

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Song (960 – 1279) ? A zenith of Chinese Painting About 200 to 300 years before the beginning of Renaissance in Europe or about 700 years since Gu Kaizhi, in Song Dynasty, Chinese painting reached a zenith in its development, with all the branches of painting reached new heights. Song Dynasty was divided into Northern Song and Southern Song. In 1127, the capital N Song of Kaifang ?? was overran by Jin ? and the capital was moved to Hangzhou ??. Song had always adopted a policy of in favour of the scholar official instead of the military. It was the ‘Golden age’ of scholar officials. As a result, Song was culturally and scientifically sophisticated but militarily very weak. Song ? (960 – 1279)

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Song, the turning point. Song ? (960 – 1279) Up until Song, naturalism was the main goal of painting development. Gradually, naturalism was replaced by the subjective and spiritualistic influences of the Impressionistic Literati movement, in late Song. Objective views were replaced by the subjective views of the world. The Literati movement dominates the development of Chinese painting since, up until modern times. Painters were taught not to copy nature but to paint the images in their mind. During Song Dynasty the Chinese paintings reached a zenith, in which all categories of Chinese painting attained their heights. Science and performing arts e.g. opera, also flourished.

Musical Court with Lotus Fragrance : 

Musical Court with Lotus Fragrance

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Literati - Self Expressionism ??? The Literati movement began by the Scholar Officials in Song, with Su Shih ?? (1036-1101) being its chief spokesman. By Yuan it was the main stream of Chinese painting. In contrast, the court painting tradition was in decline. Painting became a way of self expressions and personal cultivation. Plum blossoms, orchids, bamboo and chrysanthemums were the symbols of the movement, representing the moral qualities of the Confucius scholars. Daoism and Buddhism helped to reinforce this development toward the subjective view of the world. Painters were less interested in paint nature as it was but more interesting in using nature to express themselves. This took Chinese painting in a different direction from naturalism. It was the main stream of Chinese painting until early Qing Dynasty, with its influence felt even today.

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Bamboo. 1350 Wu Xhen. ?? (1280 – 1354). Yuan. National Palace Museum. Taipei.

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Figure Painting and Portraiture. Figure Painting was the first to developed in the 4C. It always associated with court painters. It has an affinity with naturalism. At times, Literati Impressionism influences were being felt. From the series of portraits above, it is clear from the development of naturalism was stopped in the 12-13C. It experienced a revival in Qing in the 18C. Last portrait above shows undoubtedly Western influence. ?? 2-3C Han 4C Jin Mid 7C Early Tang Late 10C Early Song Late 10C Early Song Early 13C Late Song Mid 13C Late Song Late 13C Yuan Late 15C Ming 18C Qing - Emperor Kangxi

Queen of Jen-tsung : 

Queen of Jen-tsung

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Landscape 1 ?? Early development of Landscape can be traced back to 8C in Tang. After the collapse of Tang, during the Five Dynasty many painters sought refuge in the mountains, leading to the development of Monumental Landscape style.

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Landscape 2 Composition and styles were essentially unchanged from Song to Qing. Literati influence is strongest in Yuan but can still be seen in Qing. Ming’s landscape paintings were similar to those in Song. ?? Qing’s landscape painting were more colourful and saw the return of Monumental Landscape painting. Individual styles began to emerge.

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Flowers & Birds ?? The development of Flower & Bird paintings is one of the main driver toward naturalism and it is the last of the three major genres to be developed. Its origin can be traced back to the Animal painting of Tang and to the floral decorations on Buddhist art. Literali movement has also made its influence fell here. Song marked the height of its development. During the reign of Song Huizong (1082-1135), over half of the imperial collections were Flower & Bird paintings. Naturalism has achieved to such a degree of naturalism that individual species can be identified easily in painting. Qing saw a revival of the Flower & Birds genre with new vigour.

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The Ch’an Buddhist and Dao ?? The scope of sacred art in China is so vast that is should be treated separately. Here we restrict ourselves to only paintings by well established painters, thus excluding all the other forms of arts and crafts (like pottery sculptures or carvings). Using this criteria, the first Ch’an and Dao painters in China were Guanxiu ?? and Shi Ko ?? in the late Tang and early Five Dynasties, around the 10th century. Buddhism and Daoism played a significant role in the history of Chinese painting, from the beginnings of the landscape tradition to the origins of the literati movement. It is difficult to isolate any distinctly elements and styles across the entire spectrum of sacred painting, apart from its subject matter. Patriarch and Tiger (copy after Shi Ko ?? ) 10th Century. Sakyamuni Preaching. Zhang Sheng Wen ??? Late12thC.

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Yuan – Self Expressionism ? Song Dynasty ended in 1279. Not since the Qin Dynasty, the Chinese experienced such a repressive regime. Many of the scholar officials were no longer work for the bureaucracy. They were in recluse. As the Imperial Academy was defunct and court painting was in decline, there was a fundamental shift toward literati painting. Chinese painting entered into the stage of Self Expressionism, in which paintings reflect the moral and self-cultivation of the painter. Instead artists painted for their own enjoyment, to limited audiences. All attempts to develop naturalism further was abandoned. During this period, landscape painting became the dominant subject, though which the literati was able to use it as a form of expression. In term this led to monotony of subject-matter and reduction of compositions (few objects in painting). It is also an era of monochrome bamboo and plum flowers paintings.

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Ming - Revivalism ? The return of Han’s rule with the founding of the Ming Dynasty, led to revivalism. Painters were looking backward into history and innovations were not encouraged. It was only in late Ming that sparks of innovations started to appear. The return of the Imperial Academy bought back some of the Bird & Flowers painting styles of Song. However, the Literali movement was firmly established and continued its expansion to dominate the general thinking of artistic activities. Guan Yu capturing His Enemy Pang De (Detail). Ming. Shang Xi ?? Gibbons at Play. 1427. Emperor Xuan De ??

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Qing – Revitalised Energy ? Paintings in Qing can be divided into three main schools – Orthodox, Individualistic and Eccentric. Paintings get a boost from its contact with the West. Paintings become much more colourful. The Orthodox was the major current in Early Qing when Manchu Emperors were busy embracing the traditional Han culture. It continued the tradition of painting monumental landscape, perhaps with a bit more colour. The Individualists introduced stylistic changes to traditional painting. Among them were Shitao ?? and Zhu Da ??, who were monks, influenced by Ch’an paintings. The Eccentric School begin in the 18C, with the “Eight Eccentrics of Yangzhou” ????. It was the beginning of commercial painting in China. Their eccentricity was employed very successfully as a marketing tool. One of the Eight Eccentrics of Yangzhoul.

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Modern Chinese Movements – A New Beginning ?? Western painting gave traditional Chinese painting a boost in Qing Dynasty then 20th century Chinese artists want a decisive break with the past and to branch out and to explore new areas. This is an echo of the political environment at the time. Paintings became more colourful and the subject matter widened significantly. In the early half of the century, we had The Shanghai School, the Lingnan School and the Woodcut movements. Many artists were consciously experimenting on adapting Western techniques and styles into the Chinese context. The second half of the 20C Chinese painting was dominated by political the atmosphere at the time. The early years saw the strong influence of the official Soviet art. In the final years of the 20C, Chinese painting was once again freed to find its outlets. Lotus and Frog. 1954. Qi Baishi. ???

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Although the water based Chinese painting limit its ability to represent real objects. However, it is not difficult to imagine that the Chinese would have painted with oil, if there is such a need. The fact that the Chinese did not do so, suggest that naturalism is not the primary driving force behind their painting, at least after the Song Dynasty. As we seen previously, this is highlighted by the development of the Literati Movement. Another noticeable difference is the format (or size) of their paintings. The Chinese favour hanging scroll and hand scroll in which different parts of the painting is revealed simply by scrolling the painting. Thus the Chinese perspectives is the perspective of a moving observer. This is not unlike the computer game graphic (isometric) perspective, which is also used in Engineering drawings. This contrast with the single stationary observer perspectives developed in the West. Both the West and the Chinese also use tonal perspective to give painting its depth by fading of strong colours to show receding distances. Chinese painting is primarily water based, compare to the oil base painting of the West. According to John Berger oil painting was invented so that it can present a object accuracy or to create an illusion of reality. “What distinguishes oil painting from any other form of painting is its special ability to render the tangibility, the texture, the lustre, the solidity of what it depicts. It defines the real as that which you can put your hands on.” Ways of Seeing p88. Some Different between the Western and Chinese traditions

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Perspectives in Chinese Painting Chinese paintings use a different techniques to express perspectives. Unlike the West’s single point or station perspective, the Chinese use a moving point perspective. Therefore Chinese paintings has no vanishing point. It also uses colours to enhance distance. Chinese paintings do not use shading and objects can appear flat and without solidity. The way perspective used in Chinese painting scroll is like a bird flying along the scene at 20m to 30m high, varying its height and distance as it goes along. There is no clear horizon in the painting. It is a truly bird eye view of the area. It is similar to perspective used in engineering technical drawings. A device used to draw parallel lines thus maintaining the isometric perspective, like engineering drawing. Restaurant on the upper floor.

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The Environment of the practitioners - Painters The history of Western painting began around 13-14C. Many of the early painters were craftsmen. They depended their livelihoods on patronage and more importantly on commissions. It was common that well-know painters had their own workshops to help in the production of paintings. Competition between rivals led to improvement in techniques, which can made rapid changes in decades. Religion particular the use of paintings in churches played a crucial role in the early development of painting in the West. Masterpieces are on displayed in church for all to see. By the 17C painters started to sell their paintings to the middle class in the Netherlands, making it possible for artists to pursue an independent career as a painter. Chinese painters were primarily scholar officials or court painters, who do not need to win commissions and to earn a living from selling their paintings. In fact the practice was frown on. They normally came from the more privilege background. Painting together calligraphy were seen as part of the activity of the educated elites. Unless one had the access of the imperial painting library or belong to the Scholar Official class, masterpieces were unlikely to be seen by the public. Commercial paintings only appeared in China in the mid-19C.

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Observations and Conclusions The answer to the question why the Chinese never develop naturalism to the same level of the West is that they did not want to. Naturalism was not their goal. [at least after Song] This outcome must throw back to the cultural context, the philosophy and the social values in which Chinese painting was developed. In my view the critical environment for the development of painting in China and in the West were affected by the social, economic and political environment of its practitioners, ie. the roles of the painters in its historical settings and their relationship with society. From the history of painting in the West and in the China, the early driving force is naturalism. Once reached the driver for further development passes from the objective reality in painting to subjective expressionism of the artists. The collision of two cultures, the West and the Chinese, in this case does not lead to the suppression or domination of one cultures over another. The impact of Western painting gave the Chinese new incentives to revitalise its own tradition, which remains virtually unchanged for 700 years between Song and Qing Dynasties.

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Appendix - Confession and Words of Caution Because most of Chinese paintings were painted on silk, which darken with age. Unlike oil paintings, they do not preserve well. Furthermore the much longer history of Chinese painting mean it has more time to deteriorate. Thus it is more difficult to appreciate Chinese painting in its original state. All the paintings in this presentation have been digitally altered to produce a clearer image, with different degrees of satisfaction. Thus many of the paintings in this presentation would look different in books or other alternate media. Furthermore many of the original paintings were lost because of the length of time involved and works by well known painters are usually copies made by other lesser painters at a later period. The presentation is based on an essay I wrote during Christmas of 2001 to construct a model of understanding of the history of Chinese painting. The model gives me a valuable perspective to relate to other Chinese paintings I encounter. The purpose of the presentation is to share with the reader, a simple, clear cut understanding of the historical development of Chinese painting in the briefest possible way. Like any other model, it should be tested to destruction, as you explore Chinese paintings in the future. The major risk of this approach is over-simplification. Inevitably, I can only focus on the main events and the main currents in history. In reality, history is more complicate and never clear cut as presented. Counter movements and currents are part of history and like all generality in history must be heavily qualified. Note on the music Liu Dehai, He Shufeng & Li Guangzu – “Spring Snow is thought to be the work of composer Shi Kuang, a musician who lived in the Jin (Shanxi Province) during the Spring and Autumn Period (BC 770 - 476), although it has also been attributed to Liu Janzi, a slightly later composer. The work was originally two separate pieces, later combines to show the warmer breezes of the spring and the scene of snow on the bamboo trees.” From the album Masters of the Pipa published by Marco Polo label. The End