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In the expression of brush and ink in landscape painting, pen and ink as an artistic medium material not only has specific material characteristics, but also the unique aesthetic feeling of the creative subject for pen and ink materials constitutes the aesthetic meaning of pen and ink expression. The style of gradual river painting has always been called qingyi; gradual river painting is simple and far-sighted to see the majesty and thickness, and the two are blended with water and milk, blending into one, so that the painting style is high. A large number of gradually jiang's works express the characteristics of a desolate and elegant style, and the presentation of this painting pattern comes from the expression of its own temperament and personality on the one hand, and from its perception of natural objects on the other hand. Gradually Jiang mastered the Song and Yuan dynasties, and was proficient in Ni Huang's pen and ink. At the age of 47, he returned to Shexian County and began sketching in Huangshan Mountain. After the age of 51, his painting style gradually moved towards a strange and cold style. At this time, gradually Jiang's ideal of "learning and excellence" was completely shattered, and his participation in the anti-Qing and restoration movement was also defeated, until he became a monk. More than half a hundred people, his ambitions can not be realized, in the way of meditation to live a life without a landing.
In the paintings of wanjiang landscape, we can see Ni Zhan's painting style, and his picture style is extremely absurd and cold, and the style is high. Gradually, in his lifetime, he especially took Ni Zhan as his teacher, in large part because Ni Zhan also lived in the era of foreign rule, and he found a way to comfort his soul from Ni Zhan's body. The biggest feature of Ni Zhan is that the painting method is sparse, mainly using folding belts to form a cold and simple style characteristic. Gradually Jiang's "Youting XiumuTu" is almost the same as Ni Zhan's "Jiangting Mountain Color Map". On the center of the picture, a mao pavilion is painted, and several trees are painted around the pavilion, and in the distance is an endless water surface, giving people a feeling of emptiness. In his album works such as "Wutong Bamboo Stone Map", "Xishan Stratigraphy Rock Map", "Sparse Forest Empty Map" and other works, the shadow of Ni Zhan's pen and ink can be seen. The works are simple and sparse, and the brush strokes are sloppy. A tree, a case, and a stone all express the portrayal of Wanjiang's personal life.
It can be said that the sketching of Huangshan is a more mature stage of his work, and the works at this time show a sense of desolation and coldness, which is all related to his state of mind. During his sketching in Huangshan, he drew the "Huangshan Map" from the real scenery of Huangshan Mountain. However, in his later years, he saw the truth of the world, and this truth was the true portrayal of his life, teaching nature and painting the Tao. Jing Hao once said in the "Note Method" that "the painter, the painter also." Take the object as it is. ”
The quiet and cold mood described in the picture of gradually rivering is a true reflection of his empty state of mind and simple life in his later years. At this time his mind began to be quiet, and there was no more hustle and bustle in his life. Hidden in the mountains and forests, I can no longer see the ideal return of my youth. A lonely soul sees a desolate, desolate wind object, not a life. "The painter has found his own home for life here, and the desolate painting environment is the 'life ant mound' carefully constructed by the painter in order to settle his lonely, lonely, extraordinary, and unworldly soul." What he sees in his artistic expression is the aesthetic meaning of the desolate and cold, and the absurd and cold aesthetic meaning in his works is profound, which is related to his desolate life and snubbed feelings. It is the portrayal of his independent and otherworldly spiritual world.
In the Taoist cognitive system, it is believed that emptiness is the essence of life, and in artistic creation, stillness has also become the aesthetic pursuit of artistic expression. The empty and clear beauty in the landscape paintings of the gradual river is full of people's hearts and interest. Gradually, The aesthetic thought of Wanjiang is simple, quiet and feminine, and his quiet and beautiful painting style is in line with the Taoist idea of emptiness and clarity. "Traditional Chinese painting emphasizes a quiet style and magnanimity, and emphasizes the confucian literary quality and the Taoist external softness and inner rigidity. The standards unanimously set by the literati at the end of the Ming Dynasty, poetry and painting, are gentle and light, and quiet is beautiful. At the same time, Wanjiang is also a Zen person, maintaining the realm of emptiness. In the landscape paintings of the gradual river, the silent silence and the long beauty are expressed, and the stillness in the paintings is soaked with ethereal and beautiful, unworldly and simple. The painting style of this ethereal beauty of wanjiang is first reflected in the use of his ink color, he uses the pen dry and bone, and the ink color is elegant and clear. In fact, the pen and ink technique can best reflect the artist's state of mind, and the mentality is not chaotic to express the meaning of the original heart with the pen in his hand.
Gradually, in his later years, the mind was empty, unencumbered, self-transcendent, and the heart was like water, and the spiritual realm that was condensed after the fierce emotional fluctuations seen in his creation was replaced by an empty and quiet spiritual space. He expresses the most beautiful moment in aesthetic perception on the picture, and this frozen moment forms his quiet and beautiful human care. "Aesthetic meditation should create a specific aesthetic state of mind, but also in the divorce and sublimation of the self, and the artist regards the removal of the self as an inevitable beam to achieve an artistic leap." With the spirit of concentration, distant feelings, meticulous body odor, and calm and self-adapting artistic perception, he expresses the aesthetic characteristics of emptiness and ethereality.
The lonely soul and simple life brought the meaning of Zen aesthetics to his creations. In his works, he shows the infinite realm of three-dimensional space, and his works present a spatial consciousness that transcends reality, an ethereal beauty of a life complex. This beauty points directly to the viewer's heart, allowing us not only to see the beauty of the ethereal meaning in his picture, but also to let us see the aesthetics of personality emanating from the way of existence of his life entity.
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