Abstract: The collection “Landscape Woodblock Prints of the Ming and Qing Dynasties” treats landscape woodblock prints as a distinct category, systematically organizing and presenting them in chronological order to showcase their development and evolution, and geographically to reveal regional differences. This approach promotes the independence of traditional Chinese prints in art history, elevating their status and influence. In Chinese history, the division of labor and cooperation in printmaking allowed both literati and professional painters to participate in print creation, contributing to the improvement of the art form. Landscape woodblock prints not only have the indicative function of landscape maps but also possess the artistic characteristics of landscape paintings, representing a pictorial form that bridges and draws from both. Ancient landscape woodblock prints and landscape paintings complement each other and provide mutual support in both creation and research. Landscape woodblock prints are closely related to the local geography and serve as important supporting materials for advancing the study of artistic geography. Compared to landscape paintings, they hold greater significance and value in the field of artistic geography.

Abstract: The way of “writing” (写) is one of the characteristics of pen-and-ink expression in Chinese literati painting, which is prominently embodied in the aesthetic ideology and the paintings of the Yuan dynasty painter Ni Zan. Ni Zan’s principle and practice of “writing” painting is rooted both in his inheritance of the pen-and-ink traditions of the Song and Yuan literati painters and in the following concepts in the history of painting: “a common origin for Chinese painting and calligraphy,” (书画同源), “a common essence for Chinese painting and calligraphy,” (书画同体) and “a common method for Chinese painting and calligraphy” (书画同法). In Ni Zan’s paintings, he used calligraphic brushwork to capture the romantic charm of the objects, which was a free expression of his true feelings and a means of self-entertainment. At the same time, his painting and calligraphy were influenced by the social trend emphasizing the “integration of literature and art” (文艺相融) in the Yuan Dynasty, resulting in a high degree of internal consistency among pen-and-ink performance, creative approaches and aesthetic style. Consequently, there was a certain degree of inevitability to the introduction of a “writing” style into his paintings. Ni Zan’s calligraphy and painting are intertwined and integrated, presenting the visual characteristics of the same brushwork. The principle of blank space is similar in both calligraphy and painting, and the same common principles apply to ink intensity and a carefree style. More importantly, “writing” (写) in his paintings, as a way of conveying the language of Ni Zan’s pen-and-ink style, also embodies the character of high elegance, which made the pursuit of a written mood in pen-and-ink paintings a common goal of literati paintings throughout the Ming and Qing dynasties.