Juchao and Julian were the pioneers of the Lingnan School of painting, and Wu Shaojia said in the article "A Preliminary Study on the Relationship between Juchao, Julian and Export Painting": "Juchao first founded the 'Jupai', and later Julian continued to explore and develop, and gradually emerged in the painting circle of the Qing Dynasty, forming its own unique faction. ”
Julian's father was a literati, and his death was earlier, so Julian relied on his brother Juchao to live, so in terms of painting style, Julian was mostly influenced by Juchao. Regarding the original style of Juchao's painting, Niu Kecheng said in "Chinese Painting of Color": "Juchao (1811-1865), the character Meisheng, the number Meichao, the name of the residence 'Present Night'. Guangdong Panyu across the mountain township people. Gong shi is good at calligraphy and painting. Its flowers and grass insects learn Yun Shouping, Shen Quan, Yuanzong Song people penmanship and Yuan ren rhyme. With the creation as the teacher, its flowers, birds, grasses and insects come from sketching, and they are extremely formable. It is written without bone points, generalized without losing shape, and the portrayal of birds and birds is fine and not stagnant. ”
JuChao "Cicadas Between The Flowers" silk color Tuan Fan Surface Collection of Guangzhou Museum of Art
Ju Chao's paintings are mainly flower cordyceps, while their original is Yun Shouping and Shen Quan, and they can also catch up with the Song people's techniques, which can show that his overall style is a fine brush all the way.
Yun Shouping's most praised person in later generations is his boneless method with a unique face, but this painting method is not original to Yun Shouping, the Northern Song Dynasty Shen Kuo said in the "Mengxi Pen Talk": "Xu Xi painted with ink brush, special grass, slightly Shi Dan powder, the spirit is very strong, and it has a vivid meaning." He who despises himself and says that his paintings are gross and evil is not out of line, and he will stop it. The son of Xi is the same as the yellow grid, not to mention the ink pen, straight to the color of the picture, called the boneless map. Guo Ruoxuan also wrote in the "Picture Seeing and Hearing Zhi": "Li Shaobao (Duan Wan) has a picture side, painting five books of peony medicine, and the cloud is the bedroom of the Holy Good Qi GuoXian Mu Dachang Princess, or Yun Taizong gave Wen He. His paintings have no brush and ink, but are made of multicolored cloth. Side inscription: "Hanlin waited for the edict Huang Juxuan and so on to be set as the top product, and Xu Chongsi painted a boneless picture". It is famous for its penless ink backbone, but it takes its beautiful ecology to be fixed. ”
JuChao is one of the "Character Flowers and Birds Fan Album" collected by the Guangzhou Art Museum
It can be seen that the inventor of the boneless method is Xu Chongsi, but Yun Shouping developed and perfected this way of painting, and had a great influence on the Changzhou School, such as his emphasis on "the sky outside the sky, the water in the water, the pen in the pen, the ink outside the ink, the non-high people Yipin, can not get it, can not know", this statement has been greatly praised by later generations of researchers, and it can be seen that the boneless method is the most important pen and ink relationship. Zhang Shi of the Qing Dynasty also emphasized the importance of using ink in "Painting Tan": "The brushwork is understood, the ink method is especially deeply studied, and the painter's use of ink is the most important thing." Ink method in the use of water, ink as the shape, water as the gas, qi line, the shape is alive, the ancients ink and ink and called, really reasonable. ”
For the relationship between ink and water, Songnian of the Qing Dynasty believes in the "Summer Garden On Painting" that the pen, ink and water used in Chinese painting summarize all the main points of painting: "Wrinkles, rubbing, hooks, axes, silk, dots six characters, the power of the pen is also, through the color of ink to help its momentum spirit." The four words of ink, dyeing, baking and supporting, the power of ink color is also used to help its color and luster. Thousands of words, nothing more than using pen and ink and water, six words are exhausted. ”
JuChao "Character Flowers and Birds Fan Album" No. 2 Collection of Guangzhou Art Museum
It can be seen that boneless painting uses a unique technique in water and ink, and "bone" is actually the line emphasized by Chinese painting. For the word "ink", you need to explore its source to get its meaning. Niu Kecheng's "Chinese Painting of Color" has the following layers of explanations:
In the Shuowen, the word "Cham" is alternately transposed, and "Cham" and "Shen (Shen)" are ancient and modern characters; yes, "no" is trained to "all into the water", and by extension, the meaning of "exhaustion" and "none". Today's "drowning" and "buried" in the word "no" still preserve its ancient meaning of "all into the water". The general meaning of "no" is "an object disappears." hidden in another object", and this "other object" is not limited to water.
Juchao "Five Blessings Chart Axis" Guangdong Provincial Museum
It can be seen that "boneless" can be understood as the painting of flowers and birds painted by the boneless method, and Niu Kecheng divides it into two styles: "There are two styles of boneless flowers and birds, one is the color of the brush, and the other is the freehand color. At that time, our induction and summary of these two boneless flower and bird styles could only be inferred from the relevant records in the history of painting, because whether it was Xu Chongsi and Zhao Chang, who had accumulated color and boneless bodies, or Liu Chang, who had no special standards, there were no special standard boneless flower and bird works that have been passed down to this day. In the Ming Dynasty, we can finally see the boneless flowers and birds of Shen Zhou, Sun Long, Zhou Zhimian and others. However, these flowers and birds are all colored bodies, and the boneless flowers and birds of the accumulated color body are still not seen in the Ming Dynasty, and this situation has changed since the Beginning of the Qing Dynasty, because in the early Qing Dynasty, there was a great painter of flowers and birds, Yun Shouping, and his image in the history of painting is inseparable from the 'boneless body' flowers and birds. His boneless flowers and birds not only have color bodies, but also accumulated color bodies. And his chromochromatum boneless flowers and birds should probably be the earliest flower and bird works of this style that we can see today. ”
Of course, the boneless method mentioned above is summed up by Yun Shouping's painting technique as an example, juchao has inherited it, but he also integrated the unique technique he invented, and taught this technique to Ju Lian, and later Ju Lian widely accepted disciples, and the former residence school of painting became the most influential painting method in Lingnan.
Ju Lian's "Rich and Noble White Head Chart Axis" collection of the Palace Museum
Regarding Ju Lian's shi cheng, Niu Kecheng said in the monograph: "Ju Lian (1828-1904), the character Shi Gang, the number of guquan, the old man across the mountain. Nest cousin. He learned to paint from an early age. During the Daoguang Period, the Wu people Meng Litang (觐乙) and Song Lotus Pond (Guangbao) lived in Guangdong and taught flowers. Meng's name continues Chen Chun all the way, sprinkling with a pen: The Song clan uses the Song people's double hook to refer to the yun grid without bones, and the sketch is realistic. 'Erju' is closely related to Meng and Song and has the deepest intention in Lotus Pond. Ju Lian was invited by Zhang Jingxiu of Dongguan to 'Ke Garden' in middle age, painting thousands of paintings. In his later years, he returned to his hometown to build the 'Ten Fragrant Garden' and the 'Xiaoyue QinLou' and immersed himself in painting. He is good at painting flowers, feathers, planting flowers and stones, and raising livestock and poultry fish for sketching. Its flowers and birds are neat and neat, and the colors are beautiful. 'Two residences' are also good at using the method of hitting water and hitting powder, and the color and ink appear fluent and vivid. ”
The techniques that "Erju" is best at are known as the water-hitting method and the powder-knocking method, which is different from Yun Shouping's boneless method, Chen Shaofeng said in "Juchao and Julian": "Juchao (1811-1865) Julian (1828-1904), Guangdong Panyu Zhashan Township (that is, Yaotou, Henan District, Guangzhou, opposite the Guangzhou Academy of Fine Arts). The relationship between the two of them was that of an uncle and brother, as well as a master and apprentice. In the art of flower and bird painting, the distant master Yun Shouping, the Jiangsu flower and bird painters Song Guangbao (Zi Tongtang, Changzhou people) and Meng Xiaoyi (Zi Li Tang, Yanghu people) who lived in the two guangdong provinces, and the painters who followed Ju Lian's painting style at that time were all over central Guangdong, southern Fujian and eastern Guizhou, known as the 'Ju School'. Their boneless method is different from the common boneless flowers of Yun Shouping people, they paint mostly with cooked paper and silk, in addition to the color dot clusters, combined with the method of 'hitting water' and 'bumping powder', and their artistic effect is similar to that of gong pen color, but it is more natural and subtle, and there is no trace of carving and carving. The method of hitting water is often used to draw leaves and branches. That is, when the color of the leaf branches is still very wet, use a clean pen to dip water from the leaf branches to the glossy surface, water and color produce a harmonious phenomenon, and the color is pushed to the glossy surface, such an effect, the same reason for hitting powder and hitting water, the difference is that there is white powder in the water, which is used for painting flowers. ”
Ju Lian's "Safflower Sorrel Grass" Silk Color Album Collection of Guangzhou Museum of Art
Regarding what is the method of hitting water and the method of bumping powder, Gao Jianfu, a disciple of Ju Lian, explained in "Mr. Ju Guquan's Painting Method": "The ancients painted leaves with hooks and dyes, some erased with thick and light brushes, some hooked with flower blue, and then smeared with grass and green water. When the master writes the leaves, he injects water into the color, injects it from the yang side, so that it is concentrated in the yin side, so that the place where the water is injected, light and white, can become the light of the leaf, and the use of uneven water stains outside the light, after drying or deep or shallow, just so see the concave and convex appearance of the leaf surface, the mystery of hitting the water is here. ”
From this depiction, it can be felt that the so-called collision of water is to inject white water into the undried color picture, so that it produces a unique change in shade, which will show a concave and convex color, and the picture presented is like the yin and yang produced by the leaves illuminated by the sun.
Ju Lian's "Vine-stemmed Viola" silk color album Collection of Guangzhou Museum of Art
Regarding the method of bumping powder, Gao Jianfu explained in the article "Mr. Juguquan's Painting Method": "The ancients wrote the method of no collision of flowers to no powder, from the SongYuan to Nantian, the powder method was used to smear powder, tart powder, dot powder, hook powder, and there was no collision powder method. Some of them began with Mei Sheng (although lotus ponds exist, their methods are slightly different, but the method of baking powder is his only place). My teacher followed, that is, to hit the color with powder to make the powder float on the color surface, so that the moisturizing was loose and there was pink. In the midst of each flower and petal, there is no need to pay attention to dyeing time, but to take the thick and thick powder itself as the time. This coincides with the Impressionists' desire to reproduce the results of color as light, and each color has a little pink component, especially the purple and yellow content. If there is pink, its color is not scorched, and it is more harmonious. But the world knows the beauty of the insects, but does not know the beauty of its flowers, the nickname is about the pen, the dance is low, the desire to laugh, the pen is everywhere, it is covered by the name of the grass worm, or what is it? Mei Sheng wrote butterfly wings and the main flower, in the current three or two flowers, when the powder is not dry, often with a pen to lift the easel, so that the picture is slightly tilted, then the powder gathers at one end (the division also used this method in the early years). In the afternoon, its color is relaxed and floaty, as if the dew has not dried. Watching it open all over the spring flowers, you feel that there is a fragrance of beauty, and then it will really make your soul feel as if you are intoxicated by the spring wind, and your soul seems to be sold to the flowers. ”
Gao Jianfu said that the ancients did not have a powder collision method in painting techniques, from the Song Dynasty painting to Yun Shouping, they were all smearing powder, dotting powder and other techniques, and did not use the powder collision technique. Gao Jianfu explicitly stated that the inventor of the powder collision method was JuChao (Juchao Meisheng), and his teacher Ju Lian inherited this painting method and further tightened it. Gao Jianfu believes that after the refined method of bumping powder, the paintings painted have a certain coincidence with the perspective method of gallery paintings.
Ju Lian's "Peony Double Butterfly Chart Axis", collection of Jiangsu Provincial Art Museum
However, this technique is difficult to grasp in its application, and Gao Jianfu pondered about it bitterly, and then because of an accidental incident, he mastered the secret of the water collision method: "When Yu was thirteen or fourteen years old, he began to paint by the living master, and he thought hard day and night about it day and night, and after many experiments, it was still difficult to understand. One night heavy rain poured down, and the tent was wet. That mosquito net is an irreplaceable antique with 'single material cost', and can only listen to its nature - the sky is leaking and the sky is dry. The next morning, I woke up and opened my eyes to look at it, only to see the water stains on the top of the tent, like Wang Qiayun Mountain's tens of thousands of stacks of splashed ink paintings, each of which was white, and the two sides were ochre ink and accumulated into a line, just like the water collision method of writing branches and leaves. This lone account has been repaired for thousands of years, so the water stains are particularly thick and significant. From the sudden realization of the water painting method, immediately got up to stretch the paper, experimented with experiments, actually worked accordingly, learned the secret, and really did not take any effort. ”
For the special effects of the method of hitting water and colliding with powder, Lin Ruoxi summed up in "Interpreting Traditions": "The occasional collision of water and powder in boneless paintings is even more exerted by Juchao and Julian to the extreme. This method is to first use the stroke to ink and plant pigments, when not drying, bump into water and pink (referring to white powder and mineral pigments), dry ink and plant pigments are squeezed to the edge by water and pink, due to the water and light color of the hue to the surrounding dark phase transition and pink to plant color, ink transition, the natural formation of the three-dimensional and natural three-dimensional combination of the formation of the texture, and the Western painting to seek three-dimensional heavy texture factors coincide. From the above point of view, the method of bumping water and colliding with powder has been pushed onto the stage of history, as if it is an inevitability, which is not easy to say, but Ju's collision of water and powder actually came out between the peaks of the two poles of work and writing, which is a profound understanding of the material, which is certain. This is also the inevitable point of the later development of the Lingnan School. ”
So what is the difference between the water and powder method and the traditional boneless method? Lin Ruoxi believes: "The rationality of boneless painting and the sensibility of lying pen writing are the compromise and reconciliation of the two poles of work and writing. However, the collision of water and powder is to put two types of irreconcilable colors, through the method of 'collision', they are fused together, and the quality of water collision and powder collision is different, and the performance effect is also different. ”
Whether it is hitting powder or hitting water, in fact, the key lies in a "collision" word, because the ancients have discussed the method of using water and the method of using powder, and only the word "collision" is invented by the nest. As for how to interpret this word, and its important influence on the Lingnan School, Lin Ruoxi emphasized in "Boneless Wind: The Modern Meaning of the Lingnan School": "Bumping into water and colliding with powder is to merge two types of irreconcilable colors through the method of 'collision', and the quality of hitting water and colliding powder is different, and the performance effect is also different." The Lingnan School of Painting has found the space for the expansion of techniques from the perspective of physical materials. Modern boneless, on the other hand, experiments with physical materials from an aesthetic point of view. We regard the Lingnan School as a turning point in modern bonelessness, because the Lingnan School, whether from technique to material, or aesthetics, has undergone epoch-making changes. The origin of its technical change is the method of hitting water and colliding with powder by The pioneer of the Lingnan School. From its technique, it changes the paradigm of material application, which leads to changes in the aesthetic level. This material application paradigm, in addition to the above mentioned two types of raw materials with different qualities 'bumped' together. What is even more immeasurable is that it breaks through the function of only 'dyeing' and 'writing', so that plant pigments have non-writing, and mineral pigments have non-dyeing, which is the necessary support of modern bonelessness. The change of pigment application method is also the cause of water, the active play of water makes the collision into a splash, and the passive application of water has texture and rubbing. ”
In fact, "Erju" in the creation of painting is not only to try to explore new techniques, they also like to observe nature, sketching is the basic lesson of their creation, Ju Lian's disciple Zhang Yi in the "Biography of Mr. Ju Guquan" called his teacher: "Taste the meaning of learning painting, must first forget the fame and fortune, and then from the pro caress, there is something to gain, it is advisable to pay attention to sketching, from not similar to similar, from similar to similar, from similar and not similar, once suddenly through, it can get rid of the ancients." ”
Ju Lian told his disciples that to learn painting, we must first lighten our sense of fame and fortune, and then start from copying, and after gradually mastering the technique, we should pay attention to sketching, and then combine the copying skills with the observation of sketching, gradually understand the brushwork of the ancients, and finally transcend this brushwork and form our own painting face.
Ju Lian's own process of learning to paint is also just as he said, Deng Erya wrote such an inscription on the "Flower Stone" painted by Ju Lian: "Ju Guquan is the brother of Mei Sheng, a famous painter in Guangdong, shao Tru Blunt, who learned to paint from Mei Sheng, and Mei Sheng thought that he was stupid and did not teach, so he worked hard to encourage himself." The genus of strange flowers and exotic birds, a room around, day and night, so it can get its god-like. ”
Because the young Ju Lian was not enlightened, although he studied painting with Ju Chao, it was difficult to get started for a long time, so that Ju Chao felt that he was not the material for being a painter. Perhaps Ju Lian heard this assertion that Ju Chao had made to him, so he practiced hard, and his way of learning was to take nature as a teacher, he collected many exotic flowers and grasses and all kinds of live insects and birds, sketched on them all day, and after hard practice, he finally became a generation of famous teachers. It can be seen how important sketching is to the creation of painting.
Ju Lian's "Flowers" on paper, color axis, collection of the National Palace Museum in Taipei
Gao Jianfu wrote in the article "Mr. Juguquan's Painting Method": "When the master writes about insects, every time the insect is inserted into the abdomen with a needle, or stored in a glass box, he describes it. After the painting, a needle is nailed into another glass box in a similar peeling method, and the insect specimens of today are still observed from time to time. Compound on the bean shed melon rack, interflower grass, and carefully examine the state of the insects. When it is, there is a philosophy of 'I don't know if the grass worm is my yah, or I am the grass worm'. This passage expresses Ju Lian's intentions when sketching, but this way of sketching is somewhat cruel.
The technique invented by Erju had a great influence on the Lingnan School, and in the late Qing Dynasty and early Min dynasty, many local painters learned their painting methods, but these people did not seriously work sketching, so the people they learned were only fur. Zheng Chunxing said in his "Appreciation of Famous Chinese Paintings": "In the last years of Guangxu, many people in Guangdong learned the 'Ju school' painting method. Because the learners only copied, all day long to adjust the fat and powder, did not know the nature of the teacher, and once produced a sluggish painting style, so there is a saying of 'living in poison'. But he also said: "In fact, it should not be blamed on the second residence." Later, those who passed on the Lian painting method included Gao Jianfu and Gao Qifeng. The Second High School developed and became a famous 'Lingnan School' in the modern painting world. ”
For this point, Huang Banruo said in "The Painting Method of Juchao": "In the last years of qing Guangxu, the painters in Guangdong, the most scholarly school, tended to be popular for a while, and the painting style was weakened, so it was called 'ju poison'! In fact, this is not the sin of the second residence, but the learner does not think about the big picture, neither teaches the law of nature, nor does he learn from the famous masters, and he adjusts the fat all day long to get powder, bumps into powder, and really gives up the end, that can be achieved? ”