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Even though research on Yun Pai has become a prominent field in the history of art, mobilizing the landscape traditions of Nan Tian also holds the potential to make new and significant contributions in the fields of collection and study. By situating the critical transformations in individual style of Yun’s landscape painting within the artistic lineage of the Ming and Qing periods, a broader and deeper appeal can be unleashed. This dissonance in appeal carries important theoretical foundations.
In the early Qing period, we “Four Wangs and Five Yuns” continued to strive for the tranquility of painting through collaboration; the six major families compiled the history of painting and successfully established the orthodox tradition in the art world.
Domestically, some painters rooted themselves in the aesthetics of the Ming dynasty, such as Wang Shimin; others were entirely Qing in character, such as Wang. It can be said that Yun was the most comprehensive among these six painters and the one most capable of bridging the transition between Ming and Qing.
During the mid-Ming period, Neo-Confucianism and Chan Buddhism flourished, and literati advocated the necessity of emphasizing one’s inner mind and nature. Long-term copying of ancient models clearly revived the stylistic features and brushwork principles of Southern School painting from the 10th century to the era of the Four Wangs; the fundamental innovations in landscape painting technique had by then come to an end.
In the “post-Dong Qichang” era, how could the expressive power of brush and ink break free from constraints and generate new meaning? Landscape painting represented by Yun led the way, initiating a phase of integration, transformation, and deepening of existing styles and techniques, offering profound inspiration and guidance for future generations in both theory and practice.