CIHA 2016 in Beijing
34th World Congress of Art HistoryAbout History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed
唐代绘画品评理论的发展 Development of Ranking Theory on Painting of Tang Dynasty
Session 2 The Rank of Art
Academy of Arts & Design, Tsinghua University
The Tang Dynasty was an important period in ancient Chinese’s culture and art development, the prosperity in art creation promoted the development of art theory, among them painting’s commentary theory has been further developed on the basis of the theory in Six Dynasties. In early Tang period, Li Sizhen in his book Shu Hou-pin（Later Classification of Calligraphers） and Hua Hou-pin（Later Classification of Painters）classified calligraphy and painting works into three categories “Upper, Middle and Lower”, each further subdivided into three. In the prosperous Tang period, Zhang Huaiguan adopted “Shen Miao Neng” three categories replaced Liang Dynasty’s Yu Jianwu proposed “Upper, Middle and Lower” to evaluate calligraphy and painting works, each category further divided into three. Combined with Li Sizhen and Zhang Huaiguan’s evaluation standard, Zhu Jingxuan in his work Tang Chao Ming Hua Lu (Record of Famous Painters in Tang Dynasty) for the first time put forward Shen Miao Neng Yi（the Inspired, the Excellent, the Competent, the Untrammeled）four commentary standards in late Tang period. Zhang Yanyuan, who was a famous calligraphy and painting’s theorist of Late Tang , in his work Li Dai Ming Hua Ji（Record of Famous Painters of All the Dynasties）advanced Zi Ran, Shen, Miao, Jing, JinXi（Natural, the Inspired, the Excellent, the Refined, the Meticulous）five classes. They based on the calligraphy and painting’s commentary theory of Six Dynasties’ to develop and improve the system of Chinese paintings and artists commentary evaluation system. The construction and of this evaluation system embodied the core values of Chinese painting’s commentary theory, this theory had a profound impact on Song Yuan Ming and Qing’s art creation and this had an important quotable experiences and reference value to the construction of contemporary Chinese art criticism theory and the value standard of art.