There is a word called "forgetting the machine", which means that there is no clever mind and there is no dispute with the world. This kind of person is called a "forgetful passenger", that is, a mountain hermit who is willing to be indifferent. This "Mountain Residence Map" depicts the scene of the forgotten machine passenger reading in the mountain, and the poem above the picture is inscribed with a poem, the poem cloud "Dao people are originally forgetful machine passengers".
The author of "Mountain Residence Map" is zhou Kasa, a painter of the Qing Dynasty, who lived in the Kang Yongqian period. Zhou Kasa likes to paint landscapes, and his painting style is eclectic. It is obvious in the "Mountain Residence Map" that Wang Meng of the Yuan Dynasty influenced him, as well as the influence of Wu Men's painting style on him. The whole work has a clear lyrical tone, expressing the secluded life of Leshan Leshui. From the perspective of color, it is lightly painted and lightly dyed, elegant and fresh. If you live in such a place, you will definitely feel very happy.
Zhou Kasa Mountain Residence Map
"Mountain Residence Map" looks thick and lush, reflecting the painting style of the orthodox school in the early Qing Dynasty. As a painter in the early Qing Dynasty, Zhou Kasa was inevitably influenced by the painting style of the Four Kings and paid attention to the spirit in his creation. Divine qi is often used to describe a person's proud appearance, and it can also be used to describe a painting with spirit and looks full of vigor. The ancients felt that a good painting should be atmospheric, divine, elegant, and righteous. With these characteristics, it is possible to reveal the inner feelings of the painter and enhance the artistic conception of the work.
Straightening out Zhou Kasa's train of thought, he wanted to depict the indifferent feelings of forgetting the plane passengers, and chose the literati to study in the deep mountains as the entry point. He uses a technique of equal emphasis on color and ink, emphasizing the tranquility of the environment and hoping to convey his inner feelings. "God is more precious than form", the magic of conveying god is that the landscape in the eye becomes the landscape in the heart. I see how feminine the green mountains are, and I am also sentimental when I look at the mountains, this is the truth.
Zhou Kasa Mountain Residence Map Partial
Zhou Kasa's pen is very rigorous, and Niu Mao is most afraid of the lack of change in the process of application. The long and short lines create a change in the texture of the mountain stone. He also used the technique of accumulation dyeing to emphasize the three-dimensional sense of the stone. It is used in conjunction with the sophorasis, and also incorporates a little axe splitting. Three methods of chaffin appear in a painting that seem reasonable and very innovative.
"Mountain Residence Map" highlights a "true" word, forgetting that the passenger can enjoy the wild fun of the mountain forest, it is because of sincerity and frankness, not to be blinded by materialism. Zhou Kasa has a sense of enlightenment in his creation, reminiscent of landscape in the artist's heart and in the viewer's mind. Thus completed his depiction of the artistic conception, when the landscape has vitality, the landscape also has a philosophical rationality.
Looking at the fine brush marks in the painting, the rendering is brilliant, there are hidden and dew, some covered, some sparse and dense, resulting in an almost musical melody. The ancients explored the ultimate foothold of landscape painting, often placed in the philosophical ideas in the painting. Technique is the appearance, peeling away the technique, you can see the tendency of Zhou Kasa in his creation.
Which is more important, form or God? Zhou Kasa answered the question with a painting. He wanted to illustrate the truth that painting requires understanding. There are many painters with solid techniques, but not many painters with insight. Zhou Kasa depicts the forgotten passenger, I hope you can think about this problem. He believes that the weight of God, the god seems to be more important than the shape.
After some stripping-like interpretation, I finally understood Zhou Kasa's intentions. Zhou Kasa settled in Yangzhou in his later years, and his painting style changed to light and distant and beautiful, and from his transformation, it can also be seen that the above analysis still has a certain truth.