Equality in front of the art ontology - This is a sentence brought out when discussing the evaluation criteria of art in this article, a concept that I formed in my early years, although it has the suspicion of "imitation" and "equality before the truth", but the motivation that prompted me to throw out this concept is not for the purpose of "rubbing heat", but its practical pertinence and positive significance. In fact, the "law of 'ontology' creation" itself is also a truth, but it refers to a little narrower. The concept of "equality before the art ontology" has nothing to do with Li Cheng, but taking this opportunity to pick it out to kill the reader, I think this great master who has been passing through the ages with real talent and practical learning (rather than power, power and money) will be very supportive, and I also hope that readers and friends can smile and understand the deep meaning of it while being stunned.
Li Cheng's influence was extremely high, and his status was extremely high, "whoever calls himself a landscape will become the first in ancient and modern times" (Xuanhe Pictorial Spectrum). But in my opinion, Li Cheng and Fan Liao, Guo Xi and others to be discussed below are tied for the first place - in fact, the top masters and top masterpieces in the field of aesthetic creation are mostly inseparable, unique and beautiful. Li and Fan were like this, plus Guo Xi, Li Tang, Ma Yuan, Xia Gui, and even some of the great masters of the Southern Sect, such as Dong Yuan and Ju Ran, were all pulled in to participate in the appraisal, and this was generally the case.
I advocate that in art appraisal, the "maturity of ontological creation" should be determined as the fundamental standard, or the "gold standard", because only works that tend to be perfect in ontology creation can withstand the test of moving from star to star. Therefore, in front of the "ontology" of art, everyone is equal. Note that this argument is limited to pure artistic appraisal and has nothing to do with the mundane utilitarian appraisal of "Bimei", "Biwu hat", and "Biqian". The reason why I joke that Li Chengfan and Guo Xi can be tied for the first place is precisely because of this position and perspective. In other words, what prompted me to reach the above conclusion was li chengfan guo xi's achievements in ontological creation, not their status as either famous artists of the royal family descendants or hermits of the Qing Dynasty literati, and the market effect that is difficult to find. So, what are Li Cheng's outstanding achievements in ontology creation?
Northern Song Dynasty Li Cheng Qingluan Xiao Temple Map
Northern Song Dynasty Li Cheng Maolin Yuanxiu Map
Northern Song Dynasty Li Cheng Maolin Yuanxiu Map Partial
Li Cheng was a native of Yingqiu (present-day Linzibei, Zibo, Shandong), and studied under Jinghao and Guan Tong, but in terms of his typical style, he was very different from Jing and Guan. Regarding his painting style, the so-called "meteorological sparseness, smoke and forest clearance, sharp edges, and subtle ink methods" in the "Picture Seeing and Hearing Zhizhi" represents the views of many people in the historical circles -- if the object of our research is Li Cheng's typical painting style, Guo Ruoxuan's remarks are indeed very accurate. However, if the reader generalizes on this and thinks that this is what Li Cheng is all about, it will give rise to a misunderstanding. Because his pen and ink do exist in two states, one inherits the context of Jing Hao and Guan Tong, the method is basically some short small brush contact point lines, which can be regarded as the product of the integration and flexibility of "rain points" and "small axe splitting", similar to Fan Kuan's "grabbing the pen". To match this is the structural line of contour lines drawn with a strong bone pen and thick ink, which is strong and vigorous and sparse. This kind of rigid vocabulary plays a leading role in works such as "Qinglan Xiao Temple Diagram" and "Hanlin Diagram Axis", and constitutes a perfect form of life as a whole through the towering vertical pattern of Fenglan and the grand spatial situation.
We should also pay attention to a certain transition in the transformation of Li Cheng's formal language, in the process of his creation of "Maolin Yuanxiu Tu", the pattern was changed to horizontal, chen bushi was used "three far", and the scenery of the layers was deep; the pen and ink treatment also had some differences from the "Qingluan Xiao Temple Map" - the mountain stone was painted with "backbone self-determination", strong and simple and introverted brush lines and a more subtle method, which was quite close to Guan Tong's "Autumn Mountain Evening CuiTu"; the lush vegetation was mostly depicted with ink-rich and varied ideas. Supplemented by dry brushes and light ink baking, the situation of the intersection of rigidity and xiurun emerges spontaneously, which not only successfully creates a large and muddy spatial situation, but also adds some simple and luxurious atmosphere.
Northern Song Dynasty Li Cheng Hanlin Pingye Map
The other is the typical form of his art: "Pingyuan" pattern, the pen gesture is straight, "the edge is sharp", the ink is like gold, "the ink is moist and the pen is fine, the smoke is clear, such as the opposite thousand miles, the beauty is beautiful", the "cirrus cloud" and "stone like the cloud". Although the contour lines and structural lines of the mountain stone forest in such works are mostly curved, the "internal force" is strong and elastic, and the pen is sharp and sharp, and it is also quite tense. "Cirrus cloud" was created by Li Cheng, mostly with the side edge and even the horizontal pen swirling for it, the gesture is curly and round, the wrinkles are sometimes clear and strong, sometimes subtle and soft, the line surface is hooked and combined, the thick and light dry and wet changes are natural, most of them are completed again. The subsequent rendering undertakes many important tasks such as assisting the pen line and the method of strengthening the structure to improve the shape, enrich the layers, create space, highlight the clouds and mist, create an atmosphere, and generate charm. The so-called "light ink is like a dream fog, the stone is like a cloud" (Mi Fu's "History of Painting"), "landscapes and wood stones, smoke and mist, the movement of its heavenly opportunity, the opening of the yang and the yin, the rapid alarm, the world is unknown" ("Guangchuan Painting"), etc., are related to his whole set of superb pen and ink skills. In his disciple Guo Xi, cirrus was played to the extreme, becoming a prominent feature of the Li Guo school, and was often used in the paintings of my master Chen Shaomei and my mentor Sun Tianmu.
Northern Song Dynasty Li Cheng Qiao Songping Yuantu
Next, I would like to emphasize the issue of "creating a situation" once again, because in this regard, Li Cheng has shown extremely unusual creativity and subjective initiative. Jing Hao Guan Tong's paintings are related to the essence of the gods of the Mountains and Rivers of Shaanxi, and the momentum is abrupt and majestic, while Li Cheng's "Smoke Forest Pingyuan Wonder" is obviously another very different realm.
From Gaoyuan as the leading and far-reaching to Pingyuan as the leading and far-reaching, it means that the situation structure, spatial situation, artistic interest and even the shape of the frame of the work have undergone breakthrough changes. Among the factors that trigger these changes, of course, they are related to the unique cultural psychology of the painter, and at the same time, they are indispensable to the nourishment and influence of the landscape culture in the unique region where the painter is located. Li Cheng lives in Shandong, according to the author's more extensive and in-depth travels in Shandong, The geography of Qilu is rich and changeable, the natural beauty is breathtaking, taishan, Laoshan, Kunyu and other real scenic spots coexist and Penglai wonderland and other ethereal places coexist, and the plains and hills are transformed, coupled with the cloud steaming Xiawei, fog and mist and the immersion of humanistic colors, thus forming an inexhaustible symphony. Usually in such cases, people will take what they love, or find and determine things that are in line with their temperament and temperament, and have a fate in the journey of life. So, what is the main theme in between? What is it that moves Li Cheng's heart and successfully expresses it through his personal language? Through Li Cheng's art, I felt a kind of temperament and charm that blended with the gentle literary show and the strength of the wind and bones. Perhaps, this is also the characteristic of Qilu mountains and rivers, so in addition to the influence of regional culture, are there other factors that act on our aesthetic creation?
As I said, the wind objects in the relevant regions can only subtly influence the painter and enlighten the painter, but cannot completely dominate the painter's creation, including "creating the environment", if the painter is satisfied with taking the natural scenery as a blueprint to depict, like a camera to photograph the scenery, then wait for it. This means that the real artist and the real artistic creation must be closely related to the painter's own temperament, bosom, and affection, and whether it is possible to materialize and transform the things at the spiritual level of "master", "guest" and "ben" into an art form with rich connotations through the artist's dynamic casting, so as to create immortal works, which is an insurmountable watershed between masters and ordinary painters. In this regard, Li Cheng can be described as a whimsical person, and Li Tang and Ma Yuanxiagui, who will be discussed later, can be described as going their own way. A painter can be in the artistic creation of the imagination, I do my own thing, there must be some struggle, in addition to the creation of "constant place", "constant music", and even the same heart and virtue of the life of one and deep understanding of the creation of the law of form ontology, emotion, learning, talent and creativity, is particularly important.
Li Cheng is a typical literati doctor, who likes to chant poems and write the piano, especially likes to be interested in painting, and his heart is splendid. As for his creation, "the changes in the gait of the heart are sometimes entrusted to paintings to send them, so the clouds and smoke and rain, the thunder becomes strange, and so on." When Fang Qishi suddenly forgot the shape of the limbs, he held up the heavens and saw the people, all the mountains. Therefore, I can do my best" ("Hirokawa Painting Trek"). The Commentary on the Famous Paintings of the Holy Pilgrimage is more direct: "The pen of the destiny of the cheng is only what it means." The creation of the grandmaster and the creation of self-created scenery are all in harmony with each other" - I think that the above two texts truly tell the mystery of Li Cheng's artistic creation.
The reason why Li Cheng's art has an extraordinary realm of dust is also related to his high standard and self-reliance, life sentiment and artistic spirit. According to records, Li Cheng was very disgusted by the co-optation and corrosion of the secular magnates, and solemnly refused to be detained in the hotel and opened the room to suck powder, and once said a solemn and admirable sentence: "Since ancient times, the four people are not mixed, and I am a Confucian student, although I am entertained and entertained, it is only suitable, but it is only suitable for people to be detained in the Qilai Hotel, study dan powder and be listed with the people who paint history." Among them, "adaptation", that is, today's so-called creation of lyrical freehand speech through aesthetics, the meaning of living happily and happily, and "poetic inhabitation" through art, undoubtedly directly reached the true realm of art.
Northern Song Dynasty Li Cheng Snow Mountain Travel Map Partial
At this point, it is time to talk about the issue of "Li Chengzong's genus." I think that if Li Chengquan had known about it, he would definitely feel that this matter was a bit boring, and the real artist only cared about "doing what he wanted", "moment" is the "Tao" of the law and nature, he would consciously "experience the Tao and the Virtue", and then create his own language, but he would not climb the magnate for fame and fortune, nor would he be too concerned about whether this creation belonged to the family law of a certain sect. Of course, it is still meaningful for future generations to sort out the context and clear the source. As we all know, in Dong Qichang's "TheOry of the Southern and Northern Sects", Li Cheng was arranged in the "literati painting" system, and Jing Hao, Guan Tong, Fan Liao, and others who had a relationship with Li Cheng were mostly the backbone of the "Southern Sect", and sometimes, Li Cheng's disciple Guo Xi was also pulled into the Southern Sect, and this book invited them back to the Northern Sect - the reason why they used the word "Hui" was because they were originally "Northern Sect" people. As mentioned above: Making an accurate judgment on the nature of the formal language of a painter's work is the premise of making a correct judgment on its "clan", Jing, Guan, Fan and Guo Xi, the characteristics of the Northern Sect are obvious, then, is Li Cheng's painting "sex" south or "sex" north?
Aesthetic intuition tells me that I don't have to think about words and sentences, and I don't have to consult the discussions of the authorities of the classic analysis, just look at the paintings! It is true that Li Cheng's "Cirrus Cloud Wrinkles" are rounded, and the contours and structural lines are mostly flexed, however, they are very different from the "Phi Ma Chuan" system of wrinkles and lines. Because the ink accumulation method is used, it is completed many times, and sometimes the line is the same, so it is subtle and rich. Li Cheng's wrinkles are basically completed by dry and wet, thick and light, and then enriched by rendering, sometimes blurred, sometimes very cool. And his line, the pen is decisively affirmed, the "internal force" is thick, very beautiful and strong. In general, Li Cheng's typical painting style of brush and ink is full of contradictions and opposites and unified colors, the outer curve is rigid, the quality is solid and the spirit is virtual, and in the midst of the sparse weather and the clear smoke forest, the "backbone is self-strengthening" and the charm is endless.
Li Cheng's ink landscape in the whole "Beizong", especially the "Beizong", can be said to be a unique "show", and his "show" is not in line with the feminine, gorgeous, gentle, sweet, and handsome wind and horses, but is a show of "wen", "yi", and "ting" into one. Because of this, its "show" text is not weak, moist but not soft. In a word, Li Chengzhixiu is also in the "bone" - "bone", the inner supporter is also, the "essence", "qi" and "god" are also dependent, that is, "bone power" and "bone qi". It is the vigorous and vigorous "bone strength" and "bone qi" possessed by Li Cheng's art, and the formal meaning generated by the external form, which is cast into a rich and complex temperament - clean and clean and elegant. Li Cheng's unique temperament of yin and yang harmony, I call it "Li Chengfeng Bone", and this "wind bone" is obviously both "literati" and "Northern Sect".