陜西省藍(lán)田縣焦岱中學(xué)人教版高中英語(yǔ)選修六-unit-1-素材(存儲(chǔ)版)
【正文】 ivated in the Han Dynasty. These early paintings, which usually depicted the afterlife and heroic tales, saw a heightened sensitivity to space, distance and the first exhibition of the elements of the landscape: small trees and great mountains. In the period of the Six Dynasties, which harbored Ku K’aichih, long considered the father of landscape painting, Chinese painting took on a delicate and ethereal quality that has been adhered to throughout the long tradition of Chinese landscape art. The Tang Dynasty (618906), the golden age of cultural acplishment, saw the rise of three great painters — Wang Wei, who instilled a sense of intimacy, simplicity and sad quietness into his works, Li Suhsun and Li Chaotao, who are both known for the vivid green and blue, plex landscapes that have e to define the Tang painting. Painting diverged into many threads of ideas, styles and schools in what is generally seen as its culmination in the Song Dynasty (9601279). The Song established a royal painting academy for the first time, and officially patronized a plethora of famous artists. The birdandflower painting found its home in the royal court and has since been a popular theme among modern artists. A split between the Northern and the Southern styles emerged as well. The paintings of the North Song reflected a concern with plex position and brushwork, texture, and high concentrations of rocky cliffs, waterfalls, and bands of small figures. A type of literati painting, known as wenjen hua, surfaced, preferring simple, revelatory subjects such as a tree or a rock or a bamboo shoot. The South Song saw a landscape tradition regarded as the MaHsia school, after Ma Yuan and Hsia Kuei, which produced expansive, overarching views, covering great spans of land and mist, and cultivating a feeling of weightlessness and otherworldliness. To convey the void, the sensation of open space, and to suggest the neverending quality of the world was the greatest objective here. Ma Yuan, “onecorner Ma”, liked to paint in one corner of the canvas and leave the rest empty. The Zen painting, originating with Zen monks, who disliked the academic cult and coveted the spontaneity of painting, produced free and loosely defined paintings, which would be popular in later centuries. The Yuan (12791368), Ming (13681644) and Qing (16441912) Dynasties, saw a gradual disillusionment with the court, and many offi
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