"Painting Review" 31.36 million yuan Huang Gongwang Hongyuan's work "Qinglan Villa Color Map" appreciation

Yuan Huang Gongwang Qinglan Villa color chart vertical axis ink silk transaction price of 31.36 million yuan

【Appreciation of works】

According to the inscription on the painting, this picture is a work painted by Huang Gongwang in the seventh year of Zhizheng (1347) in the Yuan Dynasty, "splashing ink to write about the mountains and forests, and the forest is green and shady." Qinglan contains the color of the villa, and chats about the pure heart. G Beiyuan pen meaning, to the seventh year of August the great idiot Huang Gongwang and the title. "There is a "big idiot" seal in the back. On the map, there are still three-party collection seals of "Shenzhou Sun's Treasure Collection", "Seal of Forgiveness and Treasure", and "Shen Quan", which shows that it was once collected by Liu Shu, Sun Chengze and Shen Quan.

Huang Gongwang, zijiu, number of the big idiot, Yifeng Daoist, in his later years often signed the big idiot scholar, Jiangsu Changshu people. His original surname was Lu (陸), courtesy name Jian ,born in 1269 and died in 1354. When he was young, his family was poor, his parents died early, and he had to enter the Huang family as an heir, so he changed his surname to Huang. As one of the four great masters of the Yuan Dynasty, Huang Gongwang has a very high status in the history of Chinese landscape painting, and the style of landscape painting is distinct and prominent, which has a great influence on future generations. The Yuan Dynasty was the mature and prosperous era of Chinese literati painting, and the literati painting at this time was the most representative of landscape painting. This is mainly because in the specific political atmosphere of the Yuan Dynasty, the Literati of the Han Nationality generally had a sense of repression and loss, the Imperial Examination was abolished, and there was no hope of entering the army, so many literati developed a world-weary and evasive mentality. They are either hidden in the wonderland of mountains and forests, or attached to qinshi calligraphy and painting, coupled with their profound literary accomplishment and calligraphy skills, they are committed to the creation of literati paintings and pursue the taste of pen and ink, thus making literati paintings achieve great achievements. Huang Gongwang was different from most painters and literati at that time, he was born in a cold door and had ambitions to enter the world, but the road was very tortuous. He once became an official, but his official position was very humble, and he was not long and was falsely imprisoned, although he was released soon, but he never had the idea of becoming an official from then on, but joined the Protestant sect quanzhen sect at that time, living in the mountains and forests, cultivating himself; he traveled in all directions, enjoyed the magnificent mountains and rivers, and became a devout Taoist disciple, which was a turning point that had an important impact on the art of his painting.

Since Huang Gongwang turned his spiritual sustenance to art and religion, immersed himself in cultivation, "greeting the calm qi and removing the restlessness", "the calm mind is weak, the intention is light, the desire is light, the desire is clear, the bright is virtual, and the void can absorb all the realms", his artistic accomplishment and mental state are reflected in the picture is to wash away the lead, naïve and natural, there is no intricate variety pursued in the Landscape of the Northern Song Dynasty, nor the exquisite carving of the Southern Song Landscape, less sword-rattling, more plain and innocent beauty. This is where he developed on top of the tradition of teachers and teachers. Huang Gongwang attaches great importance to observing nature, but has a different way of observing than his predecessors. The "shallow landscape" he created transcends the traditional theory of "color with class" and is in stark contrast to the Song "green landscape". He can show brilliant colors with only light ochre, and has been rated by posterity as "thick peaks and thick mountains, grass and trees". As the saying goes, "Herbs are glorious, do not wait for the color of dan green; clouds and snow flutter, do not wait for lead powder and white, mountains do not wait for empty green and green, wind does not wait for five colors and pure." He was able to jump out of the barriers of the Song Dynasty, and although he was traditional, he was not limited by the so-called "reason and law", and paid more attention to the "source of the heart of the law" and emphasized "fun, excitement, and freehand".

Huang Gongwang's paintings are very particular about using pen and ink, and he summed up in "Tips for Writing Landscapes": "The use of brushwork in landscapes is said to be connected to the bones and muscles... Confusing its pen with a stroke is said to have ink, and the water pen does not move the tracing method, which is said to have a pen. "It is the most difficult to use ink for painting, but first use light ink, accumulate considerable places, and then use burnt ink, thick ink to distinguish the distance and distance." The brush and ink of painting landscapes, trees and stones, summer mountains, and winter scenes "care about improvisation", which is in line with the truth, "so there are many moisturizing places on raw paper". In addition, because he has been active in the water towns of Jiangnan for many years, the unique natural landscape of the south has given him a profound infection, and he has revised and innovated against Song Guoxi's "Three Distances", and in "Writing Landscape Tips", he said: "The mountain theory is three far away, connected from the bottom continuously, called pingyuan; separated from the near, it is said to be broad; from the mountain outside the vista, it is said to be high and far. He replaced Guo Xi's "far-reaching" with "broad and far-reaching", reflecting his new pursuit of landscape painting. His works emphasize the ethereal waters, the vast and empty, giving people a kind and peaceful visual feeling, this kind of prosperity and naïve conception, which is the correction of the southern Song Dynasty landscape and water painting style, which has a profound impact on future generations. From his heirloom works, we can see this seemingly ordinary and simple but full of emotion. In particular, after he changed the law in his later years, he exerted this spirit to the extreme, reaching the realm of "intentional or unintentional, if indifferent".

Huang Gongwang's landscape painting has two styles in terms of technical appearance, Ming Zhang ugly's "Qinghe Calligraphy and Painting Dishes" said: "There are two kinds of painting grids, one is a light color, the mountain is rocky, and the gesture is majestic; one is an ink painter, with very few wrinkles, and the brushwork is particularly simple and far-reaching." "Huang Gongwang's ink painting style works include "Nine Peaks Snow Ji Diagram", "Qing Tu Scroll when The Snow Is Fast", etc., "Nine Peaks Snow Ji Map" has concise lines, outlining the mountains after the snow, borrowing the ground for snow, dyeing the sky and water with light ink, so as to set off the peaks, huts, and cold forests after the snow, the pen is dominated by short-term straight pens, the strokes are square with circles, the strength is gentle, and there is an artistic effect of "the pen is simpler and stronger, the scene is less and the meaning is longer". The shallow landscape is the first of Huang Gongwang and can better represent its artistic characteristics. The so-called "light daisy", that is, the brush method is simple, mostly wiped with dry brushes, and then rendered with light ochre and flower blue, the picture is calm and warm, which is very much in line with the beautiful and clear mountain light and tree color of Jiangnan, and it is also a reflection of his aesthetic appearance of qingyi. Works of this style include "Tianchi Stone Wall Map", "Danya Jade Tree Map", etc., the most famous of which is "Fuchun Mountain Jutu".

The roots of literati painting are that the literati use painting as a venting tool, so it is full of "self" interest in painting. The painter does not pay attention to the existence of creation, every thought has my heart, and my pen and ink have my shadow, which is the fundamental feature of literati painting. Therefore, after Huang Gongwang studied painting by himself, from the early days to the age of seventy years ago, the imitation of Dong Yuan, Juran, Jing, and Guan were all full of self-existent characteristics. The works after the age of seventy stand out because of their own style, and the intensity of self-existence is more prominent in all works, and "Qinglan Villa Color Map" is a masterpiece born in his grandeur. (Zhang Xuhui)