The people of the Han Dynasty believed that their region was located in the middle of heaven and earth, so they called it China. Chinese painting is called "Chinese painting", abbreviated as "traditional Chinese painting". Chinese painting is a traditional form of painting of the Han ethnic group, which is painted on silk or paper using a brush dipped in water, ink, or colors.

Its techniques are divided into: Gongbi painting (white drawing, Gongbi light color, Gongbi heavy color, and part-time Gongbi with writing) and freehand brushwork (large freehand brushwork and small freehand brushwork). Gongbi painting is one of the earliest forms of painting in China, which requires meticulous portrayal of images, concise and concise brushstrokes, first outlined with ink lines, and then painted with colors. Freehand brushwork gradually emerged after meticulous painting. With concise brushstrokes, it focuses more on the pursuit and portrayal of inner spirit, from the realm of things to the context, and then to the breakthrough of artistic conception.

Its content is divided into: figure painting (meticulous figure painting, freehand figure painting, boneless figure painting, and white drawn figure painting), flower and bird painting (double hooked flower and bird painting, freehand flower and bird painting, boneless flower and bird painting, and white drawn flower and bird painting), and landscape painting (green landscape painting, light crimson landscape painting, golden and blue landscape painting, and ink wash landscape painting). The foundation of figure painting is photography, and the ultimate goal is to convey the essence. The concept proposed by Gu Kaizhi of the Eastern Jin Dynasty, which emphasizes the combination of form and spirit, has always been the standard for character painting creation. Flower and bird paintings pursue "interest", and every plant and tree in nature can evoke infinite emotions in people. Chinese landscape painting requires "freehand brushwork". "Yi" means "artistic conception", which means "freely depicting the expression of mountains and rivers". It expresses emotions through scenery, implies meaning in scenery, and emphasizes the integration of emotions and scenery.

Green Landscape: A landscape painting that uses mineral turquoise and stone green as the main colors. Da Qing Lv has many hooked contours, few cracked strokes, strong coloring, and strong decorative properties; Small blue-green is thinly covered with blue-green on the basis of light ink color.

Shallow Crimson Landscape: On the basis of ink and wash, a light colored landscape painting with ocher as the main color is laid. Its characteristics are simple and elegant, green and light, bright and transparent.

Jinbi Mountain and Water: The main colors are mud gold, stone blue, and stone green. Mud gold is generally used to hook and dye mountain outlines, stone patterns, slope feet, sand spouts, colorful clouds, as well as buildings such as palaces and pavilions.

Ink landscape painting: a landscape painting that uses pure ink without any color. Emphasis is placed on profound and vivid ideas, forming a complete set of expressive techniques with ink and wash as the main body. Its brushstrokes are mainly characterized by hooked strokes, chapped strokes, and dotted dyeing, which are better at expressing structure and texture; The ink method is based on the density, dryness, and wetness of ink. Splashing, breaking, accumulating, and baking are dominant, with the effects of "water halo ink seal" and "as well as five colors", which are better than the expression of volume and charm.

The ancestors of China had already developed a consciousness of landscape painting since the Neolithic period (2147 BC and earlier), mainly manifested in the patterns of trees, flowers, and other objects on pottery. During the slave society period (Xia, Shang, Western Zhou, and Spring and Autumn period, 2146-476 BC), the diverse patterns on bronze vessels provided a reference for the abstract form of Chinese landscape painting. During the Warring States period (475-221 BC), landscape textures had already appeared in murals and silk fabrics. During the Qin and Han dynasties (221 BC -220 AD), the background of character paintings in tomb murals began to have simple landscape depictions. During the Wei, Jin, Southern and Northern Dynasties period (Three Kingdoms, Western Jin, Eastern Jin, and Southern and Northern Dynasties, 220-589 AD), with the development of Gu Kaizhi, it broke away from the background of landscape painting as a figure painting and gradually developed into an independent art discipline.

Gu Kaizhi (Eastern Jin Dynasty, courtesy name Changkang, small courtesy name Hutou, 348-409 AD) "The Legend of Women"

Gu Kaizhi (Eastern Jin Dynasty, courtesy name Changkang, small courtesy name Hutou, 348-409 AD) "Luoshen Fu Tu"

Zong Bing (Southern Dynasty, styled Shaowen, 375-443 AD) combined the ideas of Confucianism, Buddhism, and Taoism to write the "Preface to Painting Mountains and Rivers" (around 430 AD), which marked the beginning of Chinese landscape painting theory and had a significant impact on subsequent painting theories. This book first combines the ancient sages' love for mountains and rivers with the "joy of benevolence and wisdom" and the reflection of the "way" of mountains and rivers, summarizing the beauty of mountains and rivers; Then explain the reason for creating picturesque landscapes, and then clarify the establishment and significance of landscape painting; It has been demonstrated that the principle of using perspective to preserve form and further advancing the concept of "immersing oneself in the form and incorporating it into the shadows"; Finally, the function and value of landscape painting are expressed with the words "Chang Shen", indicating its spiritual liberation significance

Original text:

The sage embodies the Tao and responds to things, while the sage embodies the taste of clarity. As for mountains and rivers, they have quality and tend to be spiritual. They are like the streams of Xuanyuan, Yao, Kong, Guangcheng, Dawei, Xu You, and Guzhu, and there must be a trip to Kongtong, Juci, Dangu, Jishou, and Dameng. Also known as the joy of benevolence and wisdom. Isn't it also almost true that a sage who is virtuous through the teachings of the gods and the way, and a landscape who is benevolent through the beauty of form and the way, are happy?

I am deeply attached to Lu and Heng, but I do not know that old age is approaching. Shamed for not being able to condense qi and satisfy the body, causing harm to the flow of the Stone Gate, so the painting is painted with colors, forming the Cloud Ridge.

For those who are unparalleled in the Middle Ages, they can be sought after for thousands of years; If the intention is beyond words and images, it can be taken from within the book and policy. Kuanghu's body hovers, his eyes are prepared, he writes his form with form, and his appearance with color.

Moreover, the size of Kunlun Mountain and the small size of its pupils make it difficult to see its shape; For miles, one can encircle their eyes. If sincerity is slightly broader, then its sight is small. Now that Zhang Xiao is always reflected from afar, the shapes of Kun and Lang can be enclosed within a square inch. Draw three inches vertically, as high as a thousand feet; Horizontal ink measures several feet, and the body is a hundred miles apart. It is natural for those who observe and draw pictures to suffer from the misfortunes of certain categories, and not to burden them with small details. If so, the beauty of Song and Hua, as well as the spirit of the mysterious female, can all be seen in one picture.

If the principle is to understand the mind with the eyes, and if the class is skillful, the eyes will also respond, and the mind will also understand. You should feel the divine, and the divine is beyond reason. Although you seek the secluded rock in the void, why add it? The essence of the divine is lost, and the sense of habitat and form is deeply ingrained in the shadows. With sincerity, one can write brilliantly, and it is truly sincere.

So I leisurely settled down to regulate my energy, brushed my cup and played the qin, draped myself in a picture, and sat exploring the four wastelands. Do not violate the cluster of heavenly inspirations (藂), only respond to the wilderness without anyone. The peaks and valleys are towering, the clouds and forests are misty, and the sages and sages are reflected in the peerless world, blending with their divine thoughts. What is Yu Fu? It's just Changshen. Where is the smoothness of God.

Translation:

Sages embrace nature, conform to all things, and wise people experience the world with a pure heart and taste. As a result, the mountains and rivers complement each other, so figures such as Xuanyuan, Yao, Confucius, Guangchengzi, Dawei, Xu You, and Boyi Shuqi are destined to travel to Kongtong Mountain, Juci Mountain, Binggu Mountain, Jishan Shouyang Mountain, and Dameng Mountain. It can also be said that benevolent people enjoy mountains and wise people enjoy water. The spirit of sages is in harmony with nature, making intelligent people accessible. Mountains and rivers decorate nature with their beautiful scenery, making kind-hearted people happy. Isn't this very similar?

I am deeply attached to Mount Lu and Mount Heng, and my soul is haunted by Mount Jing and Mount Wu, but I do not know that I am gradually getting old. I am ashamed that I can no longer travel, gather the spiritual energy of various mountains and rivers, and go to enjoy myself. Sadness can only stumble on the shore of the stone gate, so I use pictures and colors to outline the scenery of mountains and rivers surrounded by clouds.

The painting concepts that have been lost since the Han Dynasty can be deliberately pursued for thousands of years to come. Those that are not expressed clearly in legends and images can be found in books. Moreover, one can constantly experience it firsthand, repeatedly observe it with their eyes, depict the shape, and apply it according to the color.

Kunlun Mountain is tall, but human eyes are small. If Kunlun Mountain is close, one cannot see its full view. If it is a few miles away, one can have a panoramic view. Of course, it is because at a slightly farther distance on the screen, the scenery appears very small. Now spreading out the canvas to depict a distant view, the towering shape of Kunlun Mountain can be condensed into a square inch. Draw three inches vertically, as if it is a thousand feet high; A few feet of ink splashing horizontally can reflect the vastness of hundreds of miles. So for artists, the biggest fear is that the composition may not be clever enough, and there is no need to worry about not looking like it due to the small size of the painting. This is the original appearance of nature. Based on this, the beauty of Mount Song and Mount Hua, as well as the spirituality of nature, can be showcased in a single painting.

With the painting concept of pleasing the eye and heart, the composition will be clever, and if the composition is clever, it will look pleasing to the eye and also be pleasing to the heart. If it's pleasing to the eye and pleasing to the heart, it will move the spirit, and if the spirit is uplifted, it will enable the realization of ideas. Even if we paint with the proposition of the hermit from Youyan, what's the difficulty? In fact, there is no trace of spirit. It is through the use of the forms in the painting to render the composition and integrate ideas into the picture. Only by drawing cleverly can we achieve the desired results.

So I leisurely lived outside the world, regulating my mood, drinking and playing the piano, unfolding my painting and enjoying it alone, so that I could travel around the world while sitting. Obey the trials of heaven and face the deserted countryside alone. Draw towering mountains and vast forests. It can make the sages immortal and blend all kinds of pleasures in the world into imagination. What else am I going to do? Just let your spirit be full of excitement. Spiritual happiness, what can be more important than this.

Zhang Sengyou's original creation of "Boneless Landscape" was already a masterpiece in the art world at that time, and many later generations imitated it. He does not use ink, but instead uses a blue-green color scheme to create a peak, Lan, and Quan stone, which is called boneless. Later generations referred to Zhang Sengyou as the "Four Ancestors of Painters" along with Gu Kaizhi, Lu Tanwei (the founder of calligraphy in painting during the Southern Dynasty, skilled in figure painting), and Wu Daozi (known as the "Painting Saint" during the Tang Dynasty and skilled in Buddhist figure painting).

Zhang Sengyou (Southern Dynasty, birth and death years unknown) "Snowy Mountain Red Tree Painting Axis"

The "Spring Tour" by Zhan Ziqian during the Sui Dynasty (581-619 AD) is the earliest surviving authentic landscape painting. The characters in the painting are just scenery points. It transformed the Six Dynasties ink painting method into the line drawing and color filling method, and the heavy color green method, opening the way for "green mountains and rivers".

Zhan Ziqian (Sui Dynasty, 545-618) "Spring Tour"

During the Tang Dynasty (618-907 AD), with a developed economy and stable society, Chinese landscape painting matured and entered a period of prosperity, resulting in various styles competing to emerge. The Tang Dynasty's landscape painting created two major schools: one inherited Zhan Ziqian's traditional technique of expressing "green mountains and waters", and developed into a style of exquisite craftsmanship and golden radiance, which later became known as "Beizong Mountains and Waters". One faction, represented by Wang Wei, has a graceful style, heavy rendering, and relatively concise painting. The lines are extended to the surface, and ink is used instead of color. It is later called "Nanzong Landscape", and Wang Wei is revered as the founder of "Nanzong Landscape".

Li Sixun (Tang Dynasty, courtesy name Jianzhang, first work Jianjing, 653-716) "Jiangfan Tower Painting"

Li Zhaodao (Tang Dynasty, courtesy name Xijun, 675-758 AD) "Ming Emperor's Visit to Shu"

Wang Wei (Tang Dynasty, styled Mojie, also known as Mojie Jushi, 701-761 AD) "Snowy Scenery of the Jianggan River"

During the Five Dynasties and Ten Kingdoms period (907-960 AD), Jing Hao transformed the method of filling and dyeing into the "texturing method", which was a significant change in the techniques of Chinese landscape painting. Through his own artistic practice, Jing Hao summarized the theories of his predecessors and wrote "The Record of Brush Techniques", establishing a complete theoretical system for "ink painting landscape". His "Kuang Lu Tu" is a large-scale panoramic landscape painting, with clear layers, a combination of texture and dyeing, and a majestic momentum. Guan Tong diligently studied and studied Jing Hao's skills, and in the end, he emerged victorious over others. Together with Jing Hao, Dong Yuan, and Juran, they are known as the "Four Great Landscape Painters". Ranked alongside Li Cheng and Fan Kuan as "three schools of thought".

Jing Hao (Five Dynasties, courtesy name Haoran, alias Hongguzi, 850-911) "Kuanglu Tu"

Guan Tong (Five Dynasties, 907-960 AD) "Travel to Guanshan"

During the Northern Song Dynasty (960-1127 AD), landscape painting reached an unprecedentedly prosperous period, with many famous artists emerging and shining like stars. Form the "Northern School" and "Southern School" in terms of style. The Northern faction is strong and upright, and has gained the bone techniques of the Qinlong Mountains and Rivers, represented by Li Cheng, Fan Kuan, and Guo Xi. The Southern School's "light ink and light mist" embodies the charm of the Jiangnan mountains and rivers, with Dong Yuan and Juran as its leaders. It is believed by later generations to be the true lineage of the Southern School's mountains and rivers. Dong Yuan, Li Cheng, and Fan Kuan are collectively known as the "Three Great Masters of the Northern Song Dynasty". The "Lin Quan Gao Zhi Ji" is a collection of quotes compiled by Guo Si, the son of Guo Xi, which first proposed the concept of "realm" in landscape painting. It includes a series of important aesthetic propositions such as "three distant (flat, high, far-reaching)" and "four possible (able to walk, observe, live, and play)". Han Zhuo's "Complete Collection of Mountains and Rivers" records his artistic insights. The book emphasizes that painters should be knowledgeable and knowledgeable, learn from the principles of creation and the methods of ancient people. At the same time, it specifically describes natural laws such as mountains, rivers, and the four seasons, as well as the morning and evening. Based on Guo Xi's "Three Distances", it also lists the shapes and structures of broad, mysterious, and secluded areas, as well as the shapes and structures of painted stones (collectively known as the "Six Distances"). At the same time, it lists various landscape painting techniques such as "Pima Cun", "Dian Cuo Cun", and "Zhuo Che Cun".

Li Cheng (Northern Song Dynasty, styled Xianxi, styled Yingqiu, 919-967 AD) "The Painting of Maolin and Yuanxiu"

Fan Kuan (Northern Song Dynasty, also known as Zhongzheng, courtesy name Zhongli, 950-1032) "Snowy Scenery and Cold Forest"

Guo Xi (Northern Song Dynasty, courtesy name Chunfu, 1023-1085) "Spring Snow in Guanshan"

Dong Yuan (Northern Song Dynasty, courtesy name Shuda, 937-962) "The Picture of Xiaoxiang"

Juran (Northern Song Dynasty, birth and death years unknown) "Autumn Mountain Asking for a Picture"

Mi Fu (Northern Song Dynasty, originally named Fu, later changed to Fu, styled Yuanzhang, self signed name Mi or Mi, 1051-1107) "Spring Mountain Rui Song Tu"

Mi Youren (Northern Song Dynasty, also known as Yin Ren, styled Yuan Hui, nicknamed Yin Ge and Ao Er, later known as Lazy and Humble Old Man, 1074-1153) "The Wonders of Xiaoxiang"

Wang Ximeng (Northern Song Dynasty, 1096-1119) "Thousand Mile Rivers and Mountains Illustrated Scroll"

During the Southern Song Dynasty (960-1127 AD), Li Tang, Liu Songnian, Ma Yuan, and Xia Gui rose to power and were known as the "Four Great Masters of Southern Song". They created a new style of ink painting, combining the strong and upright brushwork of the Northern School with the clear and rich ink techniques of the Southern School. The landscape paintings of the Song Dynasty were like blooming mountain flowers, colorful and showcasing the great creative talent of the painters. Many expressive methods of landscape painting originated in the Song Dynasty. In terms of texturing techniques, Dong Yuan and Juran created Pima texturing, Fan Kuan created Rain Dotting texturing, Mi Fu created Rice Dotting texturing, and Li Tang created the Great Axe Chopping texturing, all of which were commonly used in later generations; Speaking with pen and ink, one should have dry, wet, broken, accumulated, and splashed ink, all of which are prepared; In terms of layout, both panoramic and angular views are used.

Li Tang (Southern Song Dynasty, courtesy name Xigu, 1066-1150) "Pine Wind in Ten Thousand Gullies"

Liu Songnian (Southern Song Dynasty, self styled Qingbo, also known as "Liu Qingbo", also known as "Hidden Gate Liu", known as "Xiaojing Mountain and Water", 1131-1218) "Four Scenery Mountain and Water Map"

Ma Yuan (Southern Song Dynasty, styled Yaofu, styled Qinshan, 1140-1225) "The Song of Stepping"

Xia Gui (Southern Song Dynasty, courtesy name Yu Yu, birth and death year unknown) "The Yangtze River Ten Thousand Miles Map"

Zhao Boju (Southern Song Dynasty, courtesy name Qianli, unknown year of birth and death) "Autumn Scenery of Rivers and Mountains"

The Yuan Dynasty (1127-1276 AD) was a significant period of transformation in landscape painting. Qian Xuan's "Dwelling in Fuyu Mountain" is an attempt between color and ink to seek the coordination between transparent and ink colors to unify the picture. The color here, whether it is the large green filled with empty hooks or the experimental small green, is actually in a trend of development and exploration. Since the Northern Song Dynasty, the retro trend has influenced Qian Xuan's demand for subtle and delicate color treatment in seeking a fresh and elegant new artistic conception, completing the transition from the realm of "rich and noble immortals" to the realm of "reclusive immortals". The expression form of landscape painting in the Yuan Dynasty gradually shifted from colors before the Five Dynasties, and after the period of color and ink blending in the Song Dynasty and the Yuan Dynasty, ink and wash dominated the painting world. In the early Yuan Dynasty, Zhao Mengfu proposed the view that "calligraphy and painting share the same origin", which would be the most representative of Chinese ink and wash landscape painting. Painting has reached a climax. Scholars and painters have further applied their calligraphy and literary cultivation to painting, emphasizing the fun of brushwork and emphasizing the interpretation of brushwork. Representing the "Four Masters of Yuan Dynasty Landscape Painting" Huang Gongwang, Wang Meng, Ni Zan, and Wu Zhen reflected and developed the common aesthetic idea of valuing the method over the meaning among literati at that time through practice. They advocated that painting should prioritize the meaning and the form, underestimate the principles and methods, attach importance to the interest, emphasize expressing personal emotions through painting, and go from learning from nature to the source of the method. This challenged the old painting world that had been popular since the Song Dynasty in terms of ideological theory.

Qian Xuan (Yuan Dynasty, courtesy name Shunju, courtesy name Yutan, also known as Xunfeng, 霅霅 Chuanweng, also known as Qingxiu Old Man, Chuanweng, Xilaoweng, etc., 1239-1299) "Dwelling in Fuyu Mountain"

Zhao Mengfu (Yuan Dynasty, styled Ziang, also known as Songxue Taoist, also known as Crystal Palace Taoist, Oubo, 1254-1322) "Autumn Scenery of Magpie Blossoms"

Huang Gongwang (Yuan Dynasty, name Gongwang, courtesy name Zijiu, title Yifeng, Great Idiot Taoist, etc., 1269-1354) "Dwelling in Fuchun Mountain"

"Spring Mountain Reading Scroll" by Wang Meng (Yuan Dynasty, courtesy name Shuming, alias Huangheshan Qiao, Xiangguang Jushi, etc., 1308-1385)

Ni Zan (Yuan Dynasty, originally named Ni Hui, styled Taiyu, also known as Yuanzhen, styled Yunlinzi, Jingmanmin, Huanxiazi, 1301-1374) "Cold Pine in Youjian"

Wu Zhen (Yuan Dynasty, courtesy name Zhonggui, born with a love for plum blossoms, self proclaimed as a Taoist of plum blossoms, also known as Mei Shami or Plum Blossom Monk, 1280-1354) "Fisherman's Hidden Map"

In the Ming Dynasty (1368-1644 AD), landscape painting had diverse styles in form, with complex and diverse schools emerging, demonstrating the prosperity of the landscape painting world; However, from the perspective of content, it is becoming increasingly vague, and painters tend to imitate ancient Chinese brush and ink. In the early Ming Dynasty, the Zhejiang School, represented by Dai Jin, had the greatest influence and inherited the painting styles of Ma Yuan and Xia Gui from the Southern Song Dynasty without any innovation; In the middle of the Ming Dynasty, the Wumen School of Painting, represented by the "Ming Four Schools" of Shen Zhou, Wen Zhengming, Tang Yin, and Qiu Ying, led the landscape painting world. They learned from Dong Yuan and Juran, and then took over the mantle of the "Yuan Four Schools" to paint the landscapes of Gusu; In the late Ming Dynasty, Dong Qichang and others systematically advocated for retro art from theory to practice, with the ability to imitate predecessors. As a result, Chinese landscape painting art fell into the circle of following the ancients and had little creativity. Zhou Chen is known as a non scholarly "scholarly" painter by people. Tang Yin and Qiu Yingqing emerged from the blue, with very similar styles, but their fame had already surpassed that of their teachers at that time.

Dai Jin (Ming Dynasty, styled Wenjin, also known as Jing'an or Yuquanshan Ren, 1388-1462) "Poetry Map of Xitang"

Shen Zhou (Ming Dynasty, courtesy name Qinan, courtesy name Shitian, later courtesy name Baishiweng, 1427-1509) "High Map of Mount Lu"

Wen Zhengming (Ming Dynasty, originally named Bi (also known as Bi), with the courtesy name Zhengming and the courtesy name Zhengzhong, also known as Hengshan Jushi, 1470-1559) "The Thousand Mountains Competing for Beauty"

Tang Yin (Ming Dynasty, courtesy name Bohu, later changed to Ziwei, courtesy name Liuru Jushi, Taohua Anzhu, Tang Sheng of the State of Lu, Escaping Zen Immortal, etc., 1470-1524) "Canglang Tu"

Qiu Ying (Ming Dynasty, styled Shifu, also known as Shifu, also known as Shizhou, born in Taicang (now part of Jiangsu), unknown year of birth and death) "The Painting of Cheng Men Lixue"

Dong Qichang (Ming Dynasty, styled Xuanzai, styled Sibai and Xiangguang Jushi, 1555-1636) "Eight Scenic Spots of Autumn Revival"

Zhou Chen (Ming Dynasty, styled Shunqing, styled Dongcun, 1460-1535) "Spring Mountain Cavalry Map"

In the early Qing Dynasty (1644-1912 AD), the "Four Kings" (Wang Jian, Wang Hui, Wang Shimin, Wang Yuanqi) (the "Yushan School" led by Wang Jian and Wang Hui, and the "Loudong School" or "Taicang School" led by Wang Shimin and Wang Yuanqi) summarized many experiences and insights of their predecessors in the field of brushwork and ink, and made contributions to the organization and research of painting heritage through the imitation of ancient times (the brushwork of the Song and Yuan dynasties was considered "orthodox"). Dai Xi (Yushan and Loudong styles), Zhang Dan (Jingjiang styles), Qian Du (Songhu styles), Cai Jia, and others criticized the bias of the Four Kings, but the actual effect was minimal. Gong Xian is a landscape painter who emphasizes both traditional brushwork and learning from nature. His creation is based on the painting techniques of Dong Yuan and Juran from the Five Dynasties, with the northern painting school of the early Song Dynasty as the main focus. He incorporates the brush styles and ink rhymes of Er Mi (father and son of Mi Fu and Mi Youren), Wu Zhen, and Shen Zhou, while combining his own observations and feelings of natural landscapes, forming a simple yet elegant ink accumulation method, which is different from the ancient style advocated by the "Four Kings" led by Wang Shimin in the early Qing Dynasty. The Four Painting Monks, represented by Hongren, Kuncan, Ba Dashan Ren, and Shi Tao, are painters of the Wild Yi School. They took the Xin'an River Basin and Mount Huangshan Mountain as their bases, swept away the wind of ancient times, and created a new path of sketching. Their unconventional art style brought new peaks to the landscape of the Qing Dynasty. Their strong personalities and profound theories have had a great impact on the modern art world. Especially Shi Tao, who draws on the strengths of his predecessors and portrays the truth of life, has created many unique landscape paintings. In his book "The Quotations of Shi Tao's Paintings", he proposed a series of innovative ideas such as "too ancient to be possible", "the brush and ink should follow the times", "borrowing from the past to open up the present", "one painting" theory, "searching for unique peaks to draft", etc., which effectively challenged the dull atmosphere of the landscape painting industry for hundreds of years and opened up a new path. During this period, the Jingjiang School (Dantu School), Songhu School, and Hai School (the Four Great Masters of the Sea: Xu Gu, Pu Hua, Ren Yi, and Wu Changshuo) were successively born.

Wang Jian (Qing Dynasty, styled Yuanzhao, also known as Yuanzhao, also known as Xiangbi and Ranxiang Anzhu, born in Taicang, Jiangsu, 1598-1677) "Dwelling in Linxi Mountain"

Wang Hui (Qing Dynasty, styled Shigu, also known as Gengyan Sanren, Jianmen Qiaoke, Wumu Shanren, Qinghui Laoren, etc., 1632-1717) "Reflections on Poetry in Xitang"

Wang Shimin (Qing Dynasty, real name Wang Zanyu, courtesy name Xunzhi, courtesy name Yanke, also known as Fuxie Daoren, late name Xilu Old Man, 1592-1680) "Illustrated Scenery of Xianshan Tower"

Wang Yuanqi (Qing Dynasty, styled Maojing, also known as Lutai and Shishi Daoist, 1642-1715) "Autumn Forest Distant Daitu"

Dai Xi (Qing Dynasty, courtesy name Chun Shi, courtesy name Yu An, courtesy name Lu Chuan, Chun Xi, Song Ping, also known as Jing Dong Ju Shi, 1801-1860) "Yi Song Tu"

Zhang Dan (Qing Dynasty, courtesy name Baoya, nicknamed Xi'an, Xidao Ren, also known as Qiaoshan Jushi, Guanbai Jushi, etc., 1761-1829) "Meilin Yaqu Tu"

Qian Du (Qing Dynasty, originally named Yu, styled Shumei, renamed Du, styled Shumei, also known as Songhu Xiaoyin, also known as Songhu, also known as Hugong, also known as Jushi, 1764-1845) "Poetry Map of Walking on the Moon in the Grass Hall of Yushan"

Cai Jia (Qing Dynasty, courtesy name Songyuan, courtesy name Cenzhou, courtesy name Xuetang, courtesy name Lvting, also known as Zhu Fanglaomin, 1686-1779) "Green Mountains and Green Waters"

Gong Xian (Qing Dynasty, also known as Qi Xian, with the characters Ban Qian and Ban Mu, also known as Ye Yi, Chai Zhangren, Zhong Shan Ye Lao, 1618-1689) "Thousand Rocks and Ten Thousand Gullies"

Hongren (Qing Dynasty, common surname Jiang, name Tao, courtesy name Liuqi. After becoming a monk, his name was Hongren, also known as Jianjiang Scholar, also known as Wuzhi and Plum Blossom Ancient Na. 1610-1663) "Jiuxi Peak and Gully Map Axis"

Kun Can (Qing Dynasty, original surname Liu, monk's name Kun Can after becoming a monk, courtesy name Jie Qiu, nicknamed Shixi, Baitu, Shidao Ren, Shixi Dao Ren, Candao Ren, Dianzhu Dao Ren, 1612-1692)

Zhu Da (Qing Dynasty, formerly known as Zhu Tonggui, styled Lian'an, also known as Badashan Ren, Xuege, Geshan, Renwu, Daolang, etc., 1626-1705) "The Painting of Fishing Alone in the Streams and Mountains"

Shi Tao (Qing Dynasty, common surname Zhu, name Ruoji, small character Achang, monk name Yuanji, also known as Yuanji, alias Shi Tao, Dadizi, Dugen, Shidao Ren, Kugua Monk, Blind Venerable, Qingxiang Chen Ren, Qingxiang Old Man, Qingxiang Legacy Ren, and Lingding Old Man, 1642-1708) "Hengtang Fishing Boat Map"

Xu Gu (Qing Dynasty, commonly known as Zhu, named Huairen, monk's name Xu Bai, courtesy name Xu Gu, alias Ziyang Shanmin, tired crane, room names Juefei An, Gu Bai Caotang, 37 Feng Caotang, 1823-1896) "Map of Shanyin Caotang"

Pu Hua (Qing Dynasty, styled Ying, also known as Zhuying or Zhuyun, 1832-1911) "Clear Mountains and Bright Waters"

Ren Yi (Qing Dynasty, also known as Ren Bo Nian, originally named Run, with the courtesy name Yuan, also known as Xiaolou, later renamed Yi, with the courtesy name Bo Nian, also known as Shangyin Shangzhe, Shou Daoshi, etc., 1840-1895) "Scenery of Scenery in the Style of Plum Blossom Taoist"

Wu Changshuo (Qing Dynasty, originally named Jun, also known as Junqing, with the courtesy name Changshuo, also known as Cangshi and Cangshi, with different names. Common names include Cangshuo, Laocang, Laofu, Kutie, Dalong, Fou Daoren, and Shizun, 1844-1927)

During the Republic of China period (1912-1949 AD), the New Culture Movement emerged with the Xinhai Revolution. Cultural reformers such as Kang Youwei, Chen Duxiu, Liang Qichao, and Cai Yuanpei coincidentally focused their critical attention on traditional Chinese painting, and there was a high degree of consistency in their advocacy of rejecting literati painting and promoting courtyard style painting, and even transforming Chinese painting with Western realistic spirit. The Hu Society Painting Association and the Chinese Painting Research Association were successively established. Jin Cheng, who once presided over the establishment of the predecessor of the Palace Museum - the Antiquities Exhibition Hall of the Ministry of Internal Affairs, was the first to propose the so-called view of "meticulous brushwork" as an authentic painting theory, advocating the promotion of Tang and Song styles and correcting the shortcomings of literati painting in the Ming and Qing dynasties. The northern landscape painting circle centered around Beijing and Tianjin has gathered a large number of painters, most of whom have turned their attention to the Song and Yuan dynasties landscape, or have built foundations from the Northern sect, emphasizing the research and inheritance of courtyard and writer paintings, or dedicated themselves to the integration of north and south, emphasizing the depiction and creation of hilly and gully artistic conception. Pu Ru drew inspiration from the Southern Emperor Ma Xia's way of setting up the scenery, with more strokes and less rubbing, but with a sharp and rugged aura, he stood out with a unique style. Chen Shaomei traced back to Ma Xia from the Ming Dynasty's Zhou officials and Tang Yin, and extensively adopted the rules and regulations of Guo Xi, Liu Songnian, and Zhao Mengfu, pushing the vigorous style of Beizong ink painting towards the direction of refinement and elegance. The Jiangnan landscape painting scene centered around Shanghai has also presented more diverse and diverse changes. In 1926, after the death of Jincheng, the Chinese Painting Research Association and the Hu Society continued to promote the trend of painters in the Song and Yuan dynasties. However, influenced by the Southern painting world's reverence for the Four Monks painting style and the Jin Shi freehand painting school, the gradual rise of Xiao Xun, Qi Baishi, Chen Banding, and others led Xu Beihong (who advocated the traditional European realistic style) to join the Beijing Art School. In 1927, Wu Changshuo passed away and entered a new era of diverse artistic styles, with the rise of "Three Wu and One Feng (Wu Hufan, Wu Zheng, Wu Zishen, and Feng Chaoran)". In the early 1940s, Zhang Daqian and Xie Zhiliu crossed the quicksand to the west in the maritime painting world, facing a stone chamber on the wall, in pursuit of the Jin and Tang colored painting tradition before the Song and Yuan dynasties. As the founder of the modern Lingnan School of Painting, "Two Highs and One Chen" (Gao Jianfu, Gao Qifeng, Chen Shuren) hoped to carry out a revolution in traditional Chinese painting with the aim of "balancing China and the West, integrating ancient and modern", and "awakening the national soul" by depicting real life.

Jincheng (Republic of China, formerly known as Shaocheng, courtesy name Gongbo, courtesy name Gongbei, courtesy name Beilou, also known as Lotus Lake, with different names such as Lotus Lake and Yuyin, 1878-1926) "Autumn Mountain Temple Search Map"

Pu Ru (Republic of China, courtesy name Xinshe, alias Xishan Yishi, 1887-1963) "Deep Snow Tower"

Chen Shaomei (Republic of China, name Yunzhang, also known as Yunquail, name Shenghu, courtesy name Shaomei, 1909-1954) "Spring Dawn in Jiangnan"

Xiao Xun (Republic of China, formerly known as Xiao Ting, courtesy name Qianzhong, alias Dalongshan Qiao, 1883-1944) "The Wisdom, Joy, Benevolence, and Longevity Painting"

Qi Baishi (Republic of China, name Huang, courtesy name Pingsheng, nicknamed Baishi, Baishiweng, Laobai, also known as Jiping, Laoping, Jieshanweng, Qi Da, Mu Jushi, and Three Hundred Stone Seal Rich Men, 1864-1957) "Banana Bookstore"

Chen Banding (Republic of China, Chen Nian, 1876-1970) "Landscape Painting"

Xu Beihong (Republic of China, formerly known as Xu Shoukang, 1895-1953) "Spring Rain on the Li River"

"Yunbiao Qifeng" by Wu Hufan (Republic of China, originally named Yiyan, styled Zhujun, later renamed Wan, styled Dongzhuang, also known as Qian, with a different name of Chouyuan, styled Qian'an, calligraphy and painting signature Hu Fan, 1894-1968)

Wu Zheng (Republic of China, courtesy name "Waiting for Autumn", name Zheng, 1878-1949) "Landscape Painting"

Wu Zishen (Republic of China, original name Huayuan, initial name Yucun, later name Zichen, title Taowu Jushi, 1893-1972) "Spring River Fishing Song"

Feng Chaoran (Republic of China, name Jiong, courtesy name Chaoran, courtesy name Dige, evening name Shende, 1882-1954) "Viewing Waterfalls"

Zhang Daqian (Republic of China, formerly known as Zhengquan, later renamed Yuan, with the courtesy name Ji Yuan, also known as Daqian, also known as Daqian Jushi or Xialigang Ren, with the fasting name Dafengtang, 1899-1983) "Love Trace Lake"

Xie Zhiliu (Republic of China, formerly known as Zhi, also known as Zhiliu, later known as Zhuangmu Weng, also known as Yu Yin Xi Tang, Du Zhai, Yan Jiang Lou, Ku Huang Zhai, 1910-1997) "Jiang Ming Hua Zhu Tu"

Gao Jianfu (Republic of China, named Lun, styled Jianfu, 1879-1951) "Mist and Mist Painting"

Gao Qifeng (Republic of China, name 嵡嵡, courtesy name Qifeng, 1889-1933) "The Painting of Solitary Beauty in the Misty Orchid"

Chen Shuren (Republic of China, 1884-1948) "Flying Waterfall at Dinghu Lake"

After the establishment of New China (from 1949 to the present), from the first National Congress of the Cultural Revolution to the merger of the Academy of Fine Arts, and then to the establishment of several national art academies, social painters active in the late Qing Dynasty and the Republic of China were incorporated into the New China system. Pan Tianshou was appointed as the President of the National Art College in 1945 and the Dean of Zhejiang Academy of Fine Arts in 1959. He was full of confidence and perseverance in inheriting and developing national painting, and formed a complete system of Chinese painting teaching. Art advocates for "revolutionary realism", while the literati landscape painting school led by Zhao Mengfu and led by Dong Qichang and the Four Kings is known as "formalism" due to its "learning from the ancients" characteristic, and is pushed towards the opposite of "realism". Emphasizing the "class nature" of art and advocating a rough, bright, and popular aesthetic taste, the opposite style of elegance, gentleness, and refinement has become "declining art" and has been despised. During this period, Hu Peiheng broke the pattern like accumulation of strokes and ink in Ming and Qing landscape paintings, enhancing the depth and layering of landscape paintings. Qi Baishi engaged in simple brushstrokes of freehand landscape painting using the technique of freehand flower and bird painting, imbuing his works with a strong sense of individuality and form, imbuing them with both uniqueness and simplicity. Huang Binhong portrays the "inner beauty" of mountains and rivers with her bold and bold brushstrokes, thus pushing literati's freehand landscape painting to a new height. Guan Shanyue, who was greatly influenced by Fu Baoshi, began to use more raw paper for painting, with less rendering and more brush and ink. Adhering to the characteristics of sketching and paying attention to reality, landscape painting, which originally did not occupy an important position in Lingnan School painting, coincides with the realism orientation advocated after the founding of the People's Republic of China. A remarkable phenomenon in the 1950s was the shift of the focus of Chinese literature and art from the south centered around Shanghai to the north centered around Beijing. The New Jinling School of Painting in the south, the Chang'an School of Painting in the northwest, and the landscape painting school represented by Li Keran in Beijing quickly rose in this trend, with Li Keran, Fu Baoshi, and Shi Lu being the most outstanding. Li Keran strengthened the use of brush and ink, especially ink techniques, to shape landscape images and artistic conception, breaking through the old formula of realistic depiction. Fu Baoshi passionately expressed his feelings of reality through his bold and unrestrained writing style. Shilu's trembling pen in the rugged and desolate Loess Plateau has opened up another realm of expressing the authenticity of feelings. Lu Yanshao portrayed the gathering and scattering of smoke and clouds in the sky, as well as the terrifying waves of rivers, using the method of hooking and dyeing, or using the effect of ink haloing to fully express the form and quality of smoke, clouds, and flowing water. Zhang Daqian, who moved overseas in the 1950s, came into contact with the abstract expressionist art style during his travels to Europe and America, and created a new style of splashing ink and colors despite his declining eyesight. In the 1980s, Liu Haisu and Zhu Qizhan blended Chinese and Western techniques (fusion school), and also formed splashing ink and color landscape paintings. Lin Fengmian blends traditional freehand brushwork with modern Western painting, characterized by the colorful colors of Western painting. In his later years, there was a tendency to strengthen the meaning of ink painting. His disciple Wu Guanzhong carried forward the artistic style of combining the West and the East. Artists such as Zhang Daqian's splashing of colors, Liu Guosong's texture, and Zhao Wuji's abstraction have also spread to the field of landscape painting in the 1980s and 1990s, as the Chinese art community has rapidly completed the century long process of Western art transformation. Modernism and postmodernism have formed the basic context of contemporary art in a symbiotic and overlapping way.

Pan Tianshou (styled Dayi, self proclaimed A Shou and Shou Zhe, 1897-1971) "Jiangshan Duojiao"

Pan Tianshou (styled Dayi, self proclaimed A Shou and Shou Zhe, 1897-1971) "The Next Corner of Xiaolongqiu"

Hu Peiheng (genealogical name Xiquan, also known as Heng, courtesy name Peiheng, nickname Lengan, nickname Hutu Ketu, 1892-1962) "The Scenery of the Lijiang River"

Huang Binhong (formerly known as Maozhi, named Zhi, with the characters of Pucun, Pucen, also known as Picheng, Qiqin, No. Binhong, Bieshuyuxiang, Honglao, Mount Huangshan Mountain People, 1865-1955), Antique Landscape

Fu Baoshi (original name Changsheng, name Zhongzhou, courtesy name Qingyuan, scientific name Ruilin, owner of Baoshi Studio, 1904-1965) "The Tiger Leaps on the Dragon's Plate Today and Wins the Past"

Guan Shanyue (formerly known as Guan Zepei, 1912-2000) "Luofu Mountain Water Power Station"

Li Keran (formerly known as Li Yongshun, 1907-1989) "Red Mountains"

Shi Lu (1919-1982) "Moving to Northern Shaanxi"

Lu Yanshao (name Di, character Wanruo, 1909-1993) "The Poetic Image of Du Ling"

Mount Huangshan Mountain by Liu Haisu (famous plate, styled Ji Fang, and titled Haiweng, 1896-1994)

Zhu Qizhan (1892-1996) "Horizontally Viewing the Peak on the Side of the Ridge"

Lin Fengmian (real name Shaoqiong, Jiansheng, later renamed Fengming, also known as Fengmian, 1900-1991) "Autumn"

Wu Guanzhong (1919-2010) "Jiangnan Water Town"

Liu Guosong (1932-) "Wind and Trees"

Zhao Wuji (1921-2013) "Landscape: Mirror Heart"