Ming dynasty painting flourished with two major schools: Zhe and Wu. The Zhe School favored a conservative style, while the Wu School emphasized personal expression. Both were influenced by Southern Song traditions but differed in their approaches and artistic ideals.
Literati painting, bird-and-flower, landscape, and figure painting were popular styles. Artists experimented with new techniques and compositions, pushing the boundaries of traditional genres. Album leaves and hanging scrolls remained important formats, allowing for intimate viewing and public display.
Major Painting Schools
Zhe and Wu Schools
- Zhe School centered in Zhejiang province known for its conservative, academic style
- Wu School located in Suzhou emphasized literati painting and personal expression
- Both schools influenced by Southern Song painting traditions (Ma Yuan, Xia Gui)
- Zhe School artists often worked as professional court painters while Wu School artists were typically scholar-officials
Four Masters of the Ming
- Shen Zhou (1427-1509) considered the founder of the Wu School
- Skilled in landscape, figure, and bird-and-flower painting
- Paintings exemplified the literati ideal of personal expression and amateur aesthetics
- Wen Zhengming (1470-1559) student of Shen Zhou and leading figure of the Wu School
- Excelled in landscape painting and calligraphy
- His paintings often featured inscriptions and poetry reflecting his literary pursuits
- Dong Qichang (1555-1636) influential artist, theorist, and connoisseur
- Codified the distinction between Northern and Southern Schools of painting
- His landscape paintings emphasized brushwork, abstraction, and personal expression over realism
Painting Styles and Subjects
Literati Painting
- Literati painting (wenrenhua) practiced by scholar-officials and embodied their cultural ideals
- Emphasized personal expression, calligraphic brushwork, and references to poetry and literature
- Subjects often included landscapes, bamboo, rocks, and flowers symbolizing literati virtues
- Paintings typically featured inscriptions, seals, and colophons reflecting the artist's literary circle
Bird-and-Flower and Landscape Painting
- Bird-and-flower painting (huaniao) depicted birds, flowers, insects, and plants in meticulous detail
- Often conveyed symbolic meanings (cranes for longevity, peonies for wealth and rank)
- Landscape painting (shanshui) continued as a major genre in the Ming
- Artists expanded the range of landscape styles and compositions
- Experimented with unconventional perspectives, atmospherics, and abstract forms
- Dong Qichang's paintings exemplified the trend towards abstraction and expressive brushwork
- Figure painting included portraits, narratives, and genre scenes
- Court artists produced formal portraits of emperors and officials
- Zhe School artists painted figures in a conservative, highly refined style (fine line drawing)
- Wu School artists often depicted figures in garden settings or engaged in leisure activities
- Figures were rendered with calligraphic brushwork and minimal facial features
- Conveyed the literati ideal of reclusion and self-cultivation
- Album leaves were small paintings mounted in an album or booklet
- Format well-suited for intimate viewing and personal appreciation
- Albums often featured a series of paintings around a theme (landscapes of the four seasons)
- Hanging scrolls were vertical paintings mounted on silk or paper for display
- Larger format allowed for monumental landscapes and complex narratives
- Hanging scrolls were hung on walls for public viewing or special occasions
- Both formats incorporated calligraphy, inscriptions, and seals as integral elements of the artwork
- Reflected the synthesis of painting, poetry, and calligraphy in literati culture