Compete For The Right To Speak

The Song Dynasty is an extremely important dynasty in the history of Chinese painting,for its multi-polarization and all-around development of painting creation is almost unprecedental in the painting history.Mr zheng Wuchang divides the history of our ancient painting into 4 periods in his The Entire History of Chinese Painting,namely,practical period, confucianism period,religious period and literatured period.Practical period also refer to ancient period,but historical recording is scarce,so it's hard to demonstrate.In the Han Dynasty of the confucianism period,all the paintings,whether it was authored by the painting workers or by painters,were serving the court.However,in the religious period,great painters,like Cao Buxing,Gu Kaizhi,Lu Tanwei,etc,painted in Buddhist temples erected by emperors,which undoubtly were serving their emperors.Zhang Sengyao,was official in the reign of Emperor LiangWu,was appointed to make Buddha painting to decorate the temple,which was all the more serving the court.Until Song dynasty,painting,on the one hand,maintained and developed the confucianism and religious function of painting,and its delicate skills in reality almost reached the peak.on the other hand,it initiated the literatured process of recent history,which brought about the freehand brushwork to amuse oneself and express elegant emotions,namely,the literati painting.Painting workers and literatis are the representatives of this two kinds of painting styles respectively.The literaturization of painting bears direct relations to the special identity and status of the Song Dynasty literati coming from the political and cultural establishment.Also,the development of worker painting that served the court or the citizens has close links with the identity and status of painting workers.In this point,their identity and status is seen as the proper starting point of studying the painting of the Song Dynasty.The purpose of this paper is to take this starting point,and at the same time,use the theory of Discourse Right of Foucault to analyse the fighting and integration between realism and freehand brushwork in the Song Dynasty painting.The court painter and the folk painter are collectively referred to as"painting workers"by the literati.The development of painting workers and their own styles depend on the Imperial Painting Academy,which is also related to the process of the literatured painting of the Song Dynasty.Hence,understanding the Imperial Painting Academy and its development is an important aspect of grasping the identity of painters.To have a clear idea about the special identity and status of its literati is also a fundamental step to understand the literati painting(freehand brushwork).Literati,both in theory and in practice,is in pursuit of the independence of worker painting(realism).They are have 3 characteristics in struggle in painting practice.the first is the understanding of the relation between the object and its spirit;the second is the the advocation of poetry and painting homologous;the third one is the emphasis on the formulation of brush and ink of integrating calligraphic skills into painting.in the meanwhile,realism and freehand brushwork had integration of some degree in Song Dynasty.Faucault,as a post-modernist,has all along been the most brilliant star in the cultural circle of the western world.for his thought is famous in the world for its changing diversity.This paper,first of all,gives a brief introduction to theory of Discourse Right and his unique view of rights;next,this paper,taking the identity of painters of Imperial Painting Academy and the literati painters representing the Song Dynasty as the clue,and the legality and reproductivity of the right to converse and the inter-influence between macro-right and micro-right as the basis,gives a specific introduction about the fighting between realism and freehand brushwork.The concluding point briefly analyses the further development of the painting of the Song Dynasty in the Yuan,the Ming and the Qing Dynasty.