The Qin and Han Dynasties were the period of the establishment and consolidation of China's unified multi-ethnic feudal country, and also the extremely important period of the establishment and development of China's national artistic style. In 22 1 year BC, after Qin Shihuang unified China, a series of reforms in political, cultural and economic fields brought about great changes in society. In fact, artistic activities to publicize achievements and show kingship promoted the development of painting. The rulers of the Western Han Dynasty also attached importance to painting, because painting could serve their political propaganda and moral preaching. During the period of Emperor Wu of the Western Han Dynasty, Zhao Di and Xuan Di, painting became an effective way to reward meritorious deeds, and the palace murals made extraordinary achievements. In order to consolidate the world and control people's hearts, the Emperor of the Eastern Han Dynasty also advocated "harmony between man and nature" and "Fu Rui". Auspicious images and historical stories flaunting loyalty and filial piety became the common creative themes of painters. The custom of thick burial in Han dynasty makes it possible for us to see the painting relics at that time from the murals, stone reliefs and brick tombs discovered one after another today. The art of Qin and Han Dynasties, with its deep and heroic spirit, radiated dazzling brilliance in the art history of China. [Painting Art] The painting art in the Qin and Han Dynasties generally includes palace and temple murals, tomb murals and silk paintings. The murals of palaces and temples in the Qin and Han Dynasties were generally painted with murals, but they were almost lost with the gradual disappearance of buildings. The mural relics of Xianyang Palace in Qin Dou, which were discovered in 1970s, gave us the first taste of the splendor of the palace painting in Qin Dynasty. In the rest of the corridor in Hall 3 of Qin Gong Ruins, a parade consisting of seven carriages was found, each drawn by four galloping horses. Another surviving mural shows a maid of honor. These images are painted directly on the wall without prior outline, which can be regarded as the earliest example of the "boneless" method in traditional painting in China. Murals in the Western Han Dynasty were mainly created to flaunt the "Qingming" of official management. Wang Yanshou recorded the grand occasion of murals in the palace built by a vassal king at that time in Lu Lingguang Dian Fu. Emperor Xuan Di painted the mural of 1 1 hero portrait in Qilin Pavilion, which was the first time for later generations to paint a portrait of a hero. During the Eastern Han Dynasty, mural painting became more popular because of Ming Di's personal hobby. After he went to the Western Regions to pray for Buddha, he painted a picture of a thousand chariots circling the pagoda in the newly-built Baima Temple, which was the beginning of the mural painting of the Buddhist temple in China. Tomb murals The remains of tomb murals in Qin Dynasty have not been found so far. But the discovery of murals in Han tombs began as early as the early 1920s. The Balitai hollow brick mural group in Luoyang is the first important discovery of tomb murals in the Western Han Dynasty. 193 1 year, the mural tomb of Yingchengzi in Jinxian County, Liaoning Province was cleared, which unveiled the murals of the Eastern Han Tomb. In the following decades, more than 40 mural tombs were discovered all over the country, which provided the most important information for exploring the development of painting art in Han Dynasty. The most important mural tombs and tomb murals found in this period are: Buqianqiu Tomb Mural in Luoyang, Henan, Tomb No.61in Shaogou, Luoyang, and Sky Map in Xi 'an, Shaanxi; The mural of Xin Mang's tomb in Jinguyuan, Luoyang, belongs to the Xin Mang era; Belonging to the Eastern Han Dynasty, the mural painting of the Han tomb in Zaoyuan, Pinglu, Shanxi, the mural painting of the Han tomb in Anping, Hebei, the mural painting of the tomb in Wang Du/Kloc-0, Hebei, and the mural tomb discovered in Helinger, Inner Mongolia, etc. They depict celestial phenomena, five elements, immortal birds and beasts, some famous historical stories, sacrificial ceremonies for horses and chariots, portraits of buildings and tomb owners, etc. The meaning is complex, but most of them show the life of the tomb owner before his death, and wish him happiness after his death, hoping that the deceased can enjoy a rich life in the underground world created by the artist. Silk Painting in the Han Dynasty There are many works about silk in the Han Dynasty, but after thousands of years, few have survived. At present, the most important discovery is the silk paintings of the Western Han Dynasty unearthed in Mawangdui, Changsha, Hunan Province and Jinque Mountain, Linyi, Shandong Province in the 1970s. The silk paintings unearthed from Mawangdui 1 Tomb have the most obscure meanings, and scholars' explanations are extremely diverse. However, it is generally believed that the upper half and the lower half of silk painting depict the heaven and the underworld respectively, while the middle two parts show the life scene of the late wife. The description of the tomb owner and various gods, birds and animals is extremely vivid, with smooth lines and solemn and elegant colors, which shows the excellent level of painting in the Western Han Dynasty. In addition, the importance of three silk paintings in Mawangdui Tomb No.3 can not be ignored. In addition to the tomb owner, they also described the contents of "guidance" and etiquette ceremony, which was very beautiful. The silk painting of Jinque Mountain is similar to that of Mawangdui Han Tomb, with the moon above, the fairy mountain above and the dragon and tiger ghost below. The middle part depicts the life of the tomb owner. The combination of this painting "boneless" and sketch shows the diversity of Korean painting techniques. The painting style of the Sui Dynasty, connecting the past with the future, has the characteristics of "fineness, precision and beauty". Painters from all over the world, concentrated in Gyeonggi, are mostly good at religious subjects and are also good at describing aristocratic life. As a human activity environment, landscape painting began to be independent because of its emphasis on proportion and the spatial effect of "mountains and rivers are far and near, thousands of miles away". Painting in the Tang Dynasty developed in an all-round way on the basis of the Sui Dynasty, and pommel horse painting made extraordinary achievements. Green landscape and ink landscape have matured one after another, and flowers, birds and animals have attracted people's attention as an independent painting theme. In the early Tang Dynasty, figure painting developed the most, and landscape painting followed the meticulous style of Sui Dynasty. Some famous flower-and-bird paintings have appeared, and the secularization tendency of religious paintings has gradually become obvious and strengthened. From the landscape paintings of the murals of the buried tombs in Ganling, we can already see a relatively simple axe chop. Flower-and-bird paintings, represented by Xue Ji and Yin Zhongrong, appeared in the form of color setting and ink painting. In addition, the most famous painters in this period were Yan Lide and Consato. Their works and styles enriched the painting circles in the early Tang Dynasty and laid the foundation for the sudden change of painting style in the prosperous Tang Dynasty. Although most of their works have not been circulated, we can see their different styles from the murals of the tomb buried with Ganling, the silk paintings unearthed in Xinjiang and the murals of Dunhuang Mogao Grottoes. The prosperous Tang Dynasty is an era of unprecedented prosperity in the history of China's painting development, and it is also an era in which giants and brand-new painting styles appear. Religious paintings tend to be more secular, and the change of paintings has developed. The combination of painting methods in different regions has produced a popular new style, and realistic women with "fat" as the fashion have entered the picture. The portraits of ladies, represented by Wu Daozi and Natalie, have changed from depicting political events in the early Tang Dynasty to depicting daily life, with more accurate and vivid shapes, surpassing previous painters in psychological description and detail description. At this time, landscape painting has gained an independent status, with Li Zhaodao, Wu Daozi and Zhang Yun as the representative painters, with a fine division of labor and a wide range of works. Broken ink landscapes also began to appear. Although the development of flower-and-bird painting is not as mature as that of figure painting and landscape painting, there are many famous people in cow and horse painting, among which Cao Ba, Han Gan, Chen Hong, Han Yun and Wei Yan are outstanding. In addition, Wang Wei, Lu Lengga, Liang Lingzan and other famous painters are also more famous than the times, and their handed down works or copies of later generations can still be seen today. The painting in the middle and late Tang Dynasty, on the one hand, perfected the style of the prosperous Tang Dynasty, on the other hand, opened up new fields. At this time, Zhou Fang's portraits of ladies and religious paintings were more complete. However, the landscape paintings of Wang Mo and others have changed, the theme of trees and stones is prevalent, and ink is gradually used, and ink-splashing landscapes have also begun to appear. The flower-and-bird paintings of Bian Luan, Teng Changyou and Diao Guangyin reflect the progress of flower-and-bird painting. In addition, Li Zhen and Sun Wei were also famous painters at that time. Although most of their works are no longer visible, more and more unearthed works and murals can make us want to see the grand occasion at that time. Ming Dynasty is an important stage in the history of ancient calligraphy and painting art in China. Painting in this period continued to evolve and develop along the tradition of Song and Yuan Dynasties. Especially with the gradual stability of social politics and economy, culture and art have developed, and some famous artists and schools centered on this area have emerged. In painting, such as Zhejiang School represented by Dai Jin, Wumen School headed by Shen Zhou and Zhao Zuo, Songjiang School, Huating School and Susong School headed by Dong Qichang and Zhao Zuo, Lan Ying is also called Wulin School. Various schools, systems and painting disciplines have developed in an all-round way, with a wide range of subjects, especially landscapes and flowers and birds, with innovative expression techniques. Generally speaking, Yuan Sijia's influence still existed in the early stage, which mainly imitated the Song Dynasty. After the middle period, the literati painting school represented by Wu Pai returned, inherited the ink painting method of Yuan Dynasty, and occupied the mainstream of painting. The whole of Paintings of Ming Dynasty can be roughly divided into three stages: prophase, metaphase and anaphase. These three stages are different from each other, but they cannot be completely separated, but they should be connected alternately. The Qing Dynasty was the last feudal dynasty in China, which lasted for 286 years from 1644 to 19 1 1. The painting art in Qing Dynasty continued the trend since Yuan and Ming Dynasties. Literati painting is increasingly occupying the mainstream of painting, and landscape painting and ink painting are popular. Under the influence of literati painting thought, more painters spent their energy on the pursuit of pen and ink interest, resulting in more diverse forms and factions. Under the influence of Dong Qichang's "North-South School Theory", there were many schools of painting in Qing Dynasty, and the competition was fierce, which was unprecedented. The development of painting in Qing dynasty can also be roughly divided into three periods: early, middle and late. The early painting circles were dominated by the "Four Kings" school, while there were innovative schools represented by "Four Monks" and "Eight Schools in Jinling" in Jiangnan. In the middle of Qing Dynasty, due to the prosperity of social economy and the emperor's love for calligraphy and painting, court painting developed well. However, in Yangzhou, a school of literati painting, represented by the Eight Eccentrics of Yangzhou, advocated innovation. In the late Qing Dynasty, Shanghai School and Guangzhou Lingnan School gradually became the most influential painting schools, and a large number of painters and works emerged, which influenced modern painting creation. In addition, mural creation is declining, but there are still many excellent works handed down from generation to generation. Easy-to-spread prints and New Year pictures have developed greatly since the middle of Ming Dynasty, and many print schools and New Year pictures production centers appeared in the late Qing Dynasty.