The most distinguished connoisseur of his day, Dong Qichang set forward ideas that have continued to influence Chinese aesthetic theory. Dong Qichang was born to a poor but scholarly family. Dong Qichang (董其昌, 1555–1636), courtesy name Xuanzai (玄宰), was a Chinese painter, scholar, calligrapher, and art theorist of the later period of the Ming Dynasty. During the early Qing Dynasty (1644–1911), painters known as Individualists rebelled against many of the traditional rules of painting and found ways to express themselves more directly through free brushwork. Dong Qichang’s own calligraphy followed the style of the eminent calligraphers Zhao Mengfu and Wen Zhengming and, ultimately, of masters of the Jin and Tang dynasties. The art created by Shitao was revolutionary in its transgressions of the rigidly codified techniques and styles that dictated what was considered beautiful. The 19th century saw such innovations as the Shanghai School and the Lingnan School, which used the technical skills of tradition to set the stage for modern painting. Two Birds by Bada Shanren (1650–1705): Bada Shanren paintings feature sharp brush strokes that are attributed to the sideways manner by which he held his brush. Dividing Chinese painting into “Northern” and “Southern” schools, as first suggested by his older contemporary and friend Mo Shilong, he traced the lineage and analyzed the traditions of both branches. Dong Qichang’s own calligraphy followed the style of the eminent calligraphers Zhao Mengfu (趙孟頫) and Wen Zhengming (文徵明) and, ultimately, of masters of the Jin and Tang dynasties. Chinese painting - Chinese painting - Ming dynasty (1368–1644): The restoration of a native dynasty made China once again a great power. His paintings reveal his debt to them in both style and motif, yet he went considerably beyond them in banishing all immediate beauty from his art and stressing instead stark forms, seemingly anomalous spatial renderings, and clumsy handling of ink and brush. At the very centre of this scholarly ideal was the art of calligraphy, which expressed abstractly the real nature of the individual who wielded the brush, without interposing any pictorial description. In general, Dong Qichang’s landscapes are marked by the subtle elegance found in scholar art. The economy of respect that circulates between man and nature is explored here in a sophisticated style reminiscent of surrealism or magical realism and bordering on the absurd. His mature yet breezy form of brushwork is built up yet also retains a light and airy feeling. Dong Qichang was born to a … Explain how the work of Individualists of the Qing Dynasty, such as Shitao, deviated from the traditional rules of painting. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. Announcing our NEW encyclopedia for Kids! The Six Masters include the flower painter Yun Shouping, the landscape painter Wu Li, and the Four Wangs: Wang Shimin, Wang Jian, Wang Yuanqi, and Wang Hui. Dong Qichang (董其昌, 1555–1636), courtesy name Xuanzai (玄宰), was a Chinese painter, scholar, calligrapher, and art theorist of the later period of the Ming dynasty. Of the Four Wangs, Wang Hui is considered to be the best known today. Pine Pavilion Near a Spring by Shitao (1675): Shitao is one of the most famous individualist painters of the early Qing Dynasty. The most impressive aesthetic works during this period were done among the scholars and urban elite. The Four Wangs were particularly renowned in the Orthodox School and sought inspiration in recreating the past styles, especially the technical skills in brushstrokes and calligraphy of ancient masters. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Both schools followed the theories of Dong Qichang, though emphasizing very different aspects. Let us know if you have suggestions to improve this article (requires login). Like the former two artists, his creative approach was conscientious, disciplined, scholarly, and systematic, seeking out the spirit rather than slavishly reproducing the outward appearance of his models. Dong Qichang is perhaps best known for his writings on Chinese painting. Dong Qichang (董其昌, 1555–1636), courtesy name Xuanzai (玄宰), was a Chinese painter, scholar, calligrapher, and art theorist of the later period of the Ming dynasty. Dong Qichang and his circle of friends set out what they held to be the proper lineage of scholarly painting models, from Wang Wei of the Tang through Dong Yuan and Juran of the Five Dynasties, Su Shi and Mi Fu of the Song, Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng of the Yuan, and Shen Zhou and Wen Zhengming of the Ming. His paintings exemplify the internal contradictions and tensions of the literati or scholar-amateur artist, and they have been interpreted as an invective against art-historical canonization. High levels of literacy, prosperous cities, a successful publishing industry, and the Confucian emphasis on cultivation all fed a lively and creative set of cultural fields. Reminiscences of Qin-Huai is one of Shitao’s unique paintings. Attributed to Ahn Kyon, this work shows the influence of the Zhe school and Ming art, though the strong, fragmentary design reveals the native style. The poetry and calligraphy that accompany his landscapes are just as vivid and irreverent as the paintings they complement. They appealed to a similarly sensitive elite rather than to popular taste. The younger Wang Yuanqi (1642–1715) ritualized the approach of engaging with, and drawing inspiration from, the work of an ancient master. Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... Get exclusive access to content from our 1768 First Edition with your subscription. The Individualist painters included Bada Shanren and Shitao , who drew more from the revolutionary ideas of transcending the tradition to achieve an original, individualistic style. The Individualist painters included Bada Shanren (1626–1705) and Shitao (1641–1707), who both drew from the revolutionary ideas of transcending tradition to achieve an original style. Omissions? Like many paintings from the late Ming and early Qing Dynasties, it deals with man’s place in nature. The Qing Dynasty was the last imperial dynasty of China, ruling from 1644 to 1912 with a brief, abortive restoration in 1917. Dong Qichang’s writings appear on his art itself as well as in various compilations of his writings—including the anthologies Huayen (畫眼, The Eye of Painting), Huazhi (畫旨, The Meaning of Painting), and Huachanshi Suibi (畫禪室隨筆, Notes from the Painting-Meditation Studio). The paintings of Bada Shanren feature sharp brush strokes, which are attributed to the sideways manner by which he held his brush. Under the Orthodox School, court painters made new versions of the Song masterpiece, Zhang Zeduan ‘s Along the River During the Qingming Festival, whose depiction of a prosperous and happy realm demonstrated the beneficence of the emperor. Also known as Orthodox masters, they continued the tradition of the scholar-painter, following the injunctions of the artist-critic Dong Qichang late in the Ming Dynasty. The most distinguished connoisseur of his day, Dong Qichang set forward ideas that have continued to influence Chinese aesthetic theory. High levels of literacy, prosperous cities, a successful publishing industry, and the Confucian emphasis on cultivation all fed a lively and creative set of cultural fields. His paintings reveal his debt to them in both style and motif, yet he went considerably beyond them in banishing all immediate beauty from his art and stressing instead stark forms, seemingly anomalous spatial renderings, and clumsy handling of ink and brush. During the early Qing Dynasty (1644–1911), two main strands of painting developed: the Orthodox School and the Individualist painters. White Clouds at the Xiao and Xiang Rivers. Dong Qichang was born to a … Shitao’s formal innovations in depiction include drawing attention to the act of painting itself through his use of washes and bold, impressionistic brushstrokes, as well as an interest in subjective perspective and the use of negative or white space to suggest distance. https://www.britannica.com/biography/Dong-Qichang, ChinaCulture.org - Biography of Dong Qichang, Cultural China - Arts - Biography of Dong Qichang. In the late Ming dynasty, however, the artist and critic Dong Qichang drew the firm line between professional and scholar painters, clearly favoring the latter. Painters associated with the Southern school were “literati”—sensitive poets and scholars who were also gentlemen painters—who painted intuitively (like an “amateur”) without conscious thought of function or beauty. In this way, they were more faithfully following the way of Dong Qichang than the Orthodox School, who were considered his official direct followers.
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