Unit1Art-section2PartTwo:TeachingResources(第二部分：教学资源)Section2:BackgroundinformationonartChinesePaintingsincetheFifthCenturyLittlepaintingremainsfromtheearlyperiodsexceptforthatonceramicsandlacquerandtiles,andtombdecorationsinManchuriaandNKorea.Itisonlyfromthe5thcent.A.D.thataclearhistoricaldevelopmentcanbetraced.NearDunhuangmorethanahundredcaves(calledtheCavesofaThousandBuddhas)containBuddhistwallpaintingsandscrollsdatingmainlyfromthelate5thtothe8thcent.Theyshowfirst,simplehieraticformsofBuddhaandofthebodhisattvasandlater,crowdedscenesofparadise.TheelegantdecorativemotifsandcertainfiguralelementsrevealaWesterninfluence.Ahighlyorganizedsystemofrepresentingobjectsinspacewasevolved,quitedifferentfromWesternpost-Renaissanceperspective.Renderingofnaturaleffectsoflightandshadeisalmostwhollyabsentinthisart,thegreateststrengthofwhichisitsincomparablemasteryoflineandsilhouette.Oneoftheearliestartistsaboutwhomanythingisknownisthe4th-centurymasterKuK'ai-chih,whoissaidtohaveexcelledinportraiture.TheartoffigurepaintingreachedapeakofexcellenceintheT'angdynasty(618–906).Historicalsubjectsandscenesofcourtlylifewerepopular,andthehumanfigurewasportrayedwitharobustnessandmonumentalityunequaledinChinesepainting.Animalsubjectswerealsofrequentlyrepresented.The8th-centuryartistHanKanisfamousforhispaintingofhorses.TheTangdynastyalsosawtheriseofthegreatartofChineselandscapepainting.Loftyandcraggypeaksweredepicted,withstreams,rocks,andtreescarefullydetailedinbrilliantmineralpigmentsofgreenandblue.Thesepaintingswereusuallyexecutedasbrushdrawingswithcolorwashes.LittleifanythingremainsoftheworkofsuchfamousmastersasYenLi-pen,WuTao-tzu,WangWei,andTungYuanoftheFiveDynasties.IntheSungdynasty(960–1279)landscapepaintingreacheditsgreatestexpression.Avastyetorderlyschemeofnaturewasconceived,reflectingcontemporaryTaoistandConfucianviews.Sharplydiminishedinscale,thehumanfiguredidnotintrudeuponthemagnitudeofnature.Thetechniqueofinkmonochromewasdevelopedwithgreatskill;withtheutmosteconomyofpictorialmeans,suggestionofmood,mistyatmosphere,depth,anddistancewerecreated.DuringtheSungdynastythemonumentaldetailbegantoemerge.Asinglebambooshoot,flower,orbirdprovidedthesubjectforapainting.AmongthosewhoexcelledinflowerpaintingwastheEmperorHui-tsung,whofoundedtheimperialacademy.Hundredsofpainterscontributedtoitsglory,includingLiT'ang,HsiaKuei,andMaYüan.MembersoftheCh'an(Zen)sectofBuddhismexecutedpaintings,oftensparkedbyanintuitivevision.Withrapidbrushstrokesandinksplashes,theycreatedworksofvigorandspontaneity.WiththeascendanceoftheYüandynasty(1260–1368)paintingreachedanewlevelofachievement,andunderMongolrulemanyaspectscultivatedinSungartwerebroughttoculmination.Thehumanfigureassumedgreaterimportance,andlandscapepaintingacquiredanewvitality.Thesurfaceofthepaintings,especiallythestyleandvarietyofbrushstrokes,becameimportant.Still-lifecompositionscameintogreaterprominence,especiallybamboopainting.Duringthistime,muchpaintingwasproducedbytheliterati,gentlemenscholarswhopaintedfortheirownenjoymentandself-improvement.用心爱心专心116号编辑UndersomeoftheemperorsoftheMingdynasty(1368–1644)arevivaloflearningandofolderartistictraditionswasencouragedandconnoisseurshipwasdeveloped.WeareindebtedtotheMingartcollectorsforthepreservationofmanypaintingsthathavesurvivedintoourtimes.BirdandflowerpicturesexhibitedthesuperbdecorativequalitiessofamiliartotheWest.ShenChou,TaiChin,WenCheng-ming,T'angYin,andTungCh'i-ch'angarebutafewofthemanygreatmastersofthisperiod.UndertheChingdynasty(1644–1912)ahighleveloftechnicalcompetencewasmaintained,particularlyintheappliedarts,untilthe19thcent.,whentheoutputbecamemuchmorelimited.ThefamousfourWangsimitatedthegreatYüanmasters.Amongpaintersoflessorthodoxy,Shih-T'aoandChuTawereoutstandingasartistsofremarkablepersonalvision.However,therewaslittleinnovationinpainting.ThroughoutthehistoryofChinesepaintingonecharacteristichasprevailed—theconsummatehandlingofthebrushstroke.Paintingswereexecutedinadryorwet-brushtechnique,withanincredibleversatilityrangingfromswirlingpatternstostaccatodots.用心爱心专心116号编辑
