After the peasant revolt at the end of the Tang Dynasty, the northern economy was seriously damaged, and at this time, Jiangnan, Sichuan and other places became the refuge of many people.
On the one hand, the developed economy of Jiangnan attracted the northern literati to the south, bringing rich Tang culture, on the other hand, the economic development led to the prosperity of culture and art.
The aforementioned Dong Yuan created the Jiangnan Ink Painting School.
Among Dong Yuan's disciples, the most famous was Ju Ran.
Ju Ran was a monk at the Kaiyuan Monastery in Jinling (present-day Nanjing, Jiangsu), and he was the first recorded monk painter in the history of our country.
When I found this information, I wondered: Since the introduction of Buddhism in the Eastern Han Dynasty to China, Buddhists have been doing murals in monasteries and caves, and the number of monks has been so many times that they have endangered the rule of the dynasty and the source of troops. (There have been several calligraphers, and Huai Su and Zhi Yong are both monks.) ）
Well, don't dwell on this. Let's continue to introduce Juran.
Ju Ran learned painting from Dong Yuan when he was in Kaiyuan Temple, and after the fall of the Southern Tang Dynasty, he accompanied Li Yu to Kaifeng and lived in Kaibao Temple. That is to say, most of Juran's independent creation was completed in the Northern Song Dynasty, so it is no problem for you to say that he is a Painter of the Song Dynasty.
Juran taught Dong Yuan, and created his own personality. His landscape brushes are inky and full of idyllic natural style.
Ju Ran's works are still quite large, and he chose two representative ones to introduce with a smile.
"Wind Map of Ten Thousand Pines"
"Ten Thousand Pine Wind Map" is a huge work
Some of the subjects are what painters like to paint together, and "Wind Map of Ten Thousand Pines" is such a subject. In addition to Juran, there are also paintings by Li Tang of the Song Dynasty, Wen Boren of the Ming Dynasty, wang Yi of the Qing Dynasty and others.
"Wind Map of Ten Thousand Pines" by Li Tang
JuRan's "Wind Map of Wanren Pine" was made after coming to the Northern Song Dynasty, he painted a high mountain instead of a hill in jiangnan, but it is not like Jing Hao and Guan Tong that highlight the majestic and dangerous mountains, in this painting, we are more like to see the scene of "high mountains and dense forests"
——All kinds of pine trees, all kinds of shapes, pavilions and pavilions, lush and clear. In the midst of this deep mountain and dense forest, there are hidden huts and long bridges of the yuan temple. In the hut sat a white-clad man of letters.
In general, does it give people a feeling of "living in the mountains" and "hiding from the world"?
That's right!
The Five Dynasties and Ten Kingdoms are chaotic times, Juran lives in this chaotic and uneasy era, and has experienced the changes of the Southern Tang Dynasty being destroyed by the Northern Song Dynasty, although he is a monk, he is inevitably bound by this era. Therefore, Juran actually expressed his desire to get rid of this troubled world and hide in the "Ten Thousand Pine Winds" to seek peace and purity through this painting.
Chinese painting often emphasizes feelings, and painting is a way to express emotions, so the focus of this "Wind Map of Wanyuan Pine" is the feeling it brings you.
"Akiyama Asks Question"
"Akiyama Asks The Picture" has fewer themes. There are two technical points to note in appreciating this painting:
1, Juran likes to express the turning direction of the mountain range through the layering of stones, and the stone block in the painting also has a proper noun called alum. The method of alum head can show the feeling of looming in the clouds and mist of the mountain forest, which is the result of Juran's learning and digestion of Dong Yuan, similar to the French Impressionist style of painting, looking at the paste up close, looking at the layers from a distance.
Alum head + moss dot
2, after the mountain stone is hooked, Juran likes to use a dry pen to dot the moss. These moss dots are actually a generalization of the trees, shrubs and weeds in the rocks, and they play a refreshing role in the painting technique. Since juran used dot moss on such a large scale, this technique has become popular, and gradually formed a technique of "wrinkle, rub, dot, and dye" in landscape painting.
Part of "Akiyama Asks The Map"
The whole scene depicted in a painting is to set off two people sitting opposite each other in a mountain hut in the middle of the picture, both sitting on a futon and asking each other questions and answering questions - this is the questioner. The mountains are high and densely forested, and the grass of the stream is long, which is an excellent wonderful place for talking about Zen and discussing the Tao, and cultivating oneself.
Some people have commented that Juran's paintings are "outside the peaks and peaks of the mountains, down to the foothills of the forest, like pebbles, pines, sparses, vines and the like, and the reflection of the stream, the bending belt, the bamboo hedge huts, the broken bridges and dangerous stacks, the real scenery between the mountains is also interesting."
Lu You, a famous poet of the Song Dynasty, also mentioned Juran and Wang Wei and wrote a poem "Early Spring Miscellaneous":
Old and sick and tired of wandering, occasionally looking for friends in the creek. The residual ice embraces the fish basket, and the new warmth enters the mulberry branches.
Yamagata giant painting, Smoke Village Maji poetry. Who's picking it up? I can't be surprised.
Ju Ran's heirloom works also include "Graph of StratumIne Clusters of Trees", "Map of Smoke and Floating Far Away", "Map of Mountain Residence", "Map of Xishan Lanruo", "Map of Xiao Yi Earning Lanting" (not the one of Yan Liben), etc., I will not list them one by one.
In short, the southern landscape created by Dong Yuan and Ju Ran and the northern school landscape created by Jing Hao and Guan Tong have made great contributions to the development of Chinese landscape painting.
These four people are also called "Jingguan Dongju" and "Five Generations and Four Greats", which has become a milestone in the history of the development of Chinese landscape painting.
Our country's great rivers and mountains, because they, have a more beautiful performance!
This article is a companion article to "Fun talk about the history of Chinese characters/calligraphy" and a series of articles in the "Joke History of Chinese Art" (tentative name). Every minute, harvest a lifetime of useful knowledge, you deserve it! Pay attention to the previous article, and prompt the update in time. Please indicate the source of the reprint, welcome to the publisher to contact me.