5.2 Literati Painting and Calligraphy

Literati painting emerged in Song Dynasty China, blending art and scholarship. Scholar-officials used it for personal expression, emphasizing spontaneity and integrating painting, poetry, and calligraphy. This art form shaped Chinese cultural identity and influenced East Asian artistic practices.

The "Three Perfections" of poetry, calligraphy, and painting were central to literati art. Artists often inscribed poems on paintings, creating a harmonious blend of visual and literary elements. This tradition elevated amateur artists and fostered artistic connoisseurship in Chinese society.

Literati painting in Chinese art

Origins and Characteristics

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• Literati painting (wenren hua) emerged during the Song Dynasty (960-1279) as artistic expression practiced by scholar-officials
• Emphasized personal expression, spontaneity, and integration of painting, poetry, and calligraphy over technical perfection or realism
• Focused on landscapes, bamboo, plum blossoms, and orchids as subjects imbued with symbolic and philosophical meanings
• Utilized the Four Treasures of the Study (brush, ink, paper, inkstone) reflecting interconnectedness of painting and writing
• Prioritized capturing the spirit (xieyi) rather than the form (xingsi) of subjects
  • Led to more abstracted and simplified representations
  • Emphasized emotional resonance over photorealistic depiction

Cultural Significance

• Shaped Chinese cultural identity and artistic values
• Influenced art practices throughout East Asia (Japan, Korea, Vietnam)
• Elevated the status of amateur artists in Chinese society
• Fostered a tradition of artistic connoisseurship and collecting
• Promoted the ideal of the cultured scholar-gentleman (junzi)
• Served as a form of social and political commentary
  • Artists often used subtle symbolism to critique government or society
• Influenced the development of Chan (Zen) Buddhist painting

Poetry, Calligraphy, and Painting in Literati Art

The Three Perfections

• "Three Perfections" (sanjue) refers to integration of poetry, calligraphy, and painting within a single work
• Literati artists often inscribed poems directly onto paintings
  • Created harmonious blend of visual and literary elements
  • Enhanced the overall meaning and emotional impact of the artwork
• Calligraphy considered the highest form of art in Chinese culture
  • Aesthetic principles greatly influenced brushwork techniques in literati painting
  • Rhythm and flow of calligraphic strokes mirrored in composition and execution of painted elements
• Poetic themes and imagery served as inspiration for literati paintings
  • Artists sought to evoke similar emotions and atmospheres in visual works
  • Practice of "painting the poem" (shihua) involved creating visual interpretations of specific poetic verses

Artistic Dialogue and Evolution

• Colophons (written commentaries) added to paintings by later viewers or collectors
  • Extended dialogue between text and image
  • Created continuous artistic conversation across generations
• Development of "literati taste" in art appreciation
  • Valued subtlety, restraint, and scholarly references
  • Influenced collecting practices and art market trends
• Evolution of artistic styles through reinterpretation of classical themes
  • Artists often painted in the style of earlier masters while adding personal touches
  • Led to the development of distinct regional and personal styles within the literati tradition

Neo-Confucianism's influence on Literati Aesthetics

Philosophical Underpinnings

• Neo-Confucianism gained prominence during Song Dynasty, emphasizing self-cultivation and moral rectitude
• Concept of li (principle) encouraged artists to seek underlying essence of natural phenomena
• Emphasis on introspection and self-reflection influenced development of personal and expressive styles
• Aesthetics of simplicity, restraint, and understatement aligned with Neo-Confucian principles of moderation and self-discipline
• Concept of yimin (leftover subjects) became recurring theme
  • Referred to scholars who refused to serve corrupt regimes
  • Reflected Neo-Confucian ideals of moral integrity

Thematic and Symbolic Elements

• Landscape paintings often depicted scholarly retreats or hermitages
  • Reflected Neo-Confucian ideal of withdrawing from worldly affairs to pursue moral and intellectual cultivation
  • Examples include paintings of secluded mountain studios or bamboo groves
• Four Gentlemen (plum blossom, orchid, bamboo, chrysanthemum) became popular subjects
  • Each embodied specific virtues aligned with Neo-Confucian values
    • Plum blossom: resilience and purity
    • Orchid: refinement and scholarly pursuit
    • Bamboo: flexibility and integrity
    • Chrysanthemum: humility and endurance
• Use of negative space (liu bai) in compositions
  • Reflected Neo-Confucian concepts of emptiness and potential
  • Encouraged viewer contemplation and engagement with the artwork

Literati Artists: Styles and Techniques

Early Pioneers and Innovators

• Su Shi (1037-1101) pioneered literati approach
  • Emphasized spontaneity and personal expression
  • Known for paintings of bamboo and rock subjects
  • Promoted the idea of "scholar's painting" as distinct from professional art
• Mi Fu (1051-1107) developed "Mi dot" technique for rendering misty landscapes
  • Used small, wet dots of ink to create atmospheric effects
  • Influenced later artists' approaches to depicting water and mist
• Zhao Mengfu (1254-1322) revitalized literati painting during Yuan Dynasty
  • Synthesized earlier styles
  • Emphasized connection between calligraphy and painting
  • Reintroduced blue-and-green landscape style in literati context

Later Masters and Schools

• Ni Zan (1301-1374) known for sparse, minimalist landscapes
  • Distinctive composition of trees, rocks, and solitary hut
  • Reflected his reclusive lifestyle and philosophical outlook
• Shen Zhou (1427-1509) founded Wu School of painting
  • Characterized by lyrical style combining elements of professional and amateur traditions
  • Emphasized personal expression and brushwork over strict adherence to realism
• Dong Qichang (1555-1636) formulated theory of Southern and Northern Schools of painting
  • Influenced classification and appreciation of literati art for centuries
  • Promoted idea of "orthodox" lineage in literati painting
• Bada Shanren (1626-1705) developed highly individualistic style
  • Characterized by eccentric brushwork and enigmatic compositions
  • Often incorporated hidden meanings and social commentary
  • Known for anthropomorphic depictions of birds and fish
• Eight Eccentrics of Yangzhou (active in 18th century) represented diverse group of literati artists
  • Pushed boundaries of traditional styles
  • Experimented with bold brushwork and unconventional subjects
  • Included artists like Zheng Xie (Zheng Banqiao) and Jin Nong