Ming dynasty painting

The painting was derived in a broad scale, many new schools were born, and many outstanding masters emerged.

The painting schools of the Yuan dynasty still remained in the early Ming period but quickly declined or changed their styles.

Both these two new schools were heavily influenced by the traditions of both the Southern Song painting academy and the Yuan scholar-artist.

The activity center for this school first was in Nanjing and then went to Beijing because of the change of Ming's capital.

The Tang Yin (唐寅), Wen Zhengming (文徵明), Shen Zhou (沈周), Qiu Ying (仇英), Zhou Chen (周臣), Wen Jia (文嘉) The primary location for this school was Suzhou, whose literary name was Wumen (吳門).

During the late Ming dynasty, the Songjiang School rivaled Wumen, particularly in generating new theories of painting.

He resided in Tiantong Temple (Chinese: 天童寺) in Mingzhou (明州, now Ningbo), and also spent time in Beijing in the royal palace (Forbidden City).

After returning to Japan, Sesshū Tōyō set up his school and further developed his own style of painting (漢畫派), a style mixed with the Japanese native traditional elements, and became the most celebrated master of painting in his era in Japan, continuing to heavily affect Japanese history to the present day.

The concept of Northern and Southern Schools, developed by Dong Qichang in the late Ming period, influenced the more academic formal painters, such as Wang Yuanqi[2] well as providing an inspiration for daring originality for the "Individualist" painters, such as Kun Can and Shitao.