On Zhao Mengfu Literati Painting Theory And Practice

Mengfu Zhao was one of the most distinguished artists in Yuan dynasty of China. His peculiar social experience, extensive cultural background, and unmatched gift and wisdom were condensed into a marvelous but contradicted personality, and initialized his life-long devotion to art. Divided into six sections, this thesis highlights the contribution of Mengfu Zhao to literary painting of China.The first section reveals the intricate inner world of Mengfu Zhao, and exploited his infatuating personality as a liberator, which helped to understand the inner cause of his achievement in art. As a descendent of royal family of Song dynasty, he worked as an official in Mongol's Yuan court. Denounced as a treason to Song dynasty, he was devalued in the aspect of art achievement. However, from a view of ideology and culture, Zhao's political personality and art tendency will be expatiated esthetically, which may benefit the further exploitation of his art esthetics.The second section discusses the literal painting esthetics of Zhao. Against the decadent tendency in art practice during the era of later Song dynasty and early Yuan dynasty, Zhao pointed out the idea of "art renaissance", and energetically provoked the classical art custom in prevalence contraries ago, and initiated the delicate painting style in Yuan dynasty.The third section states the expression form of Zhao's literal painting. To highlight the art spirit of simplicity that scholars upheld, Zhao "embed calligraphy into painting" with great courage, and strengthened the independence of calligraphy and poems in the painting. He pioneered the calligraphic painting.In the fourth section, as a literal painter, Zhao's attitude toward art is discussed. The literal painting was initialized by scholars of North Song dynasty as a way of recreation and amusement. However, the attitude of recreation tremendously retarded the further development of literal painting, which was the last to be chased in painting during North Song dynasty. Due to the specific era and personality, contrary to the frivolous attitude toward the literal painting, Zhao devoted all his energy into this art form. His marvelous achievement in literal painting set a beacon for the artists in the following decades.The fifth section concentrates on the literal painting style of Zhao. He benefitedfrom multi-lateral tutorship from others and extensive reference to the literal resources, and therefore developed a dynamic painting style. Generally, Zhao observed his aesthetic theories and principles in the painting of rivers and mountains, figures, horses, and flowers and birds, etc..The sixth section generalizes the contribution of Zhao in propulsion the comprehensive mixing of paint, poem, calligraphy, and sigillography. Although in pre-Zhao era, the four elements aforementioned tended to mix together, most artists showed biased skills, therefore, no complete combination of the four art forms had been achieved before Zhao. Whereas, Zhao was distinguished in each aspect of literal art form, and demonstrated great resolution and capability to perfect combination of paint, poem, calligraphy, and sigillography. Through his efforts, Chinese literal painting arrived at its summit.Finally, a brief assessment is given at the end of this thesis. The new speculation in literal painting initiated by Zhao and its powerful impact on contemptuous and Ming-Qing artists is indicated. Zhao's contribution to the literal painting was forever imprinted in the painting history of China and the whole world.