Beijing

After a century of Mongolian rule, in 1368 the Ming Dynasty was formed and the Han Chinese once again took control over their own destiny. The Ming era represents a period of further centralization where the emperors gradually became more independent and powerful. In the world of art this meant that many artists were under tighter political control and were expected to cater their art to meet the needs and interests of the imperial family. This naturally resulted in restricting creativity and free choice of theme and style. As opposed to the impulsive and carefree style of the Literati School which dominated Yuan Dynasty landscapes, in the early Ming, landscape painters returned to a more professionalized and realistic style mostly based on southern Song formats. This reaction against literati art, may have symbolized a patriotic need to return to original Chinese patterns and restore the old glory of the local Han majority. The revival of the professional style of the imperial painting academy was short lived however. Toward the middle of the Ming the Literati school returned to dominate the painting scene until the end of the imperial era. During this period the Literati tradition had already become so well established that the old concept of the amateur Literati painter - an intellectual, scholar or government official who paints during his free time as a source of spiritual enjoyment, shifted towards the concept of the literati painter which painting was his main occupation and source of livelihood.

It is misleading, however, to assume that the story of Ming landscape painting is so clear cut and simple. Generally speaking, the Ming was a period where a great number of diverse styles, theories and schools worked in different parts of China and at different times. Ming painters were searching for ways to further develop the two main stream of painting, namely, professional painting and literati painting. It is only natural that professional-state-sponsored art flourished when dynasties were strong and prosperous while suffering drawbacks as dynasties declined. Although the Ming court didn't restore the famous Hanlin painting Academy to its past glory of the Song dynasty, they kept on serving as major patrons of art. Thus providing a platform for professional artists to develop and represent the refined taste of the aristocracy. When professional court painting declined towards the middle of the Ming, great master such as Shen Zhou, his student Wen Zhengming and the famous Wu School together with the influential official, painter, calligrapher and art theorist Dong Qichang had a major role in revitalizing the literati tradition and consolidating this tradition's central role in the long tradition of Chinese painting.

Another interesting development during the Ming was the commercialization of art. As a result of social changes and a process of urbanization, artists began to rebel against state dogmatism and moral hypocrisy. Painters indulged in a world of sensuality and pleasure which rejected moral pretence and displayed a need to satisfy the real needs of a growing middle class. Eroticism, vivid colors, individuality and commercialism combined to give Ming painting its diverse character and wide range of styles. This also led to the appearance of many female artists which presented the painting scene with an additional perspective and distinct characteristic. This World of pleasure Chinese artists chose to indulge in was reminiscent of the late 19th century Ukyio-e or  "Art of the Floating World" in Japan. Both were inspired by the same kind of social changes and symbolize the popularization of art and its emancipation from state sponsorship and exclusivity. Another aspect which highly influenced Ming painting was the growing interaction between east and west. Traders, Jesuit missionaries and artists were instrumental in introducing western techniques and concepts of painting into China. These foreign influences symbolize the beginning of a long process which stretches all the way to present times, in which Chinese painting gradually changes from a strictly local tradition to a more internationalized form of art.

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