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Chinese landscape painting arose in the Southern and Northern Dynasties of the Wei and Jin Dynasties, and is quite related to the landscape poetry that originated in wei and Jin. "At the time of the Wei and Jin Dynasties, there were many people in the world, and there were few famous people who were complete." Due to the political turmoil, the scholars abandoned the Confucian teachings and advocated Lao Zhuang thought, Lao Tzu's "to the virtual pole, keep quiet", Zhuangzi's "alone with the spirit of heaven and earth" and "man and tianyi" ideas deeply influenced them, so the wind of retreat prevailed. They retreat to the mountains and forests, borrow the mountains and rivers to pin their feelings, and as a way to cultivate personality, pursue the perfection of individual personality and spiritual freedom. The scholars "climbed the mountain near the water, and forgot to return every day", and the "New Language of the World" recorded many words and deeds of the Jin and Song dynasty scholars who traveled to enjoy the landscape, such as Wang Zijing "from the mountain vagina up, the mountains and rivers reflect each other, so that people are overwhelmed, if autumn and winter, especially unforgettable" "Gu Changkang from the meeting, people ask about the beauty of the mountains and rivers."
Gu Yun: Qianyan Jingxiu, Wanyan Competition. The grass and trees are covered with it, and the clouds are rejuvenated. It can be seen that enjoying the landscape has become a part of the lives of scholars, and even a standard for judging the people's personal conduct. The scholars lingered on the mountains and forests, "the joy of a single hill, the beauty of a ravine", believing that the landscape and water are not only tangible, but also spiritual, so that people "smooth the gods", "human feelings are clean", "gods are super-shaped". This period produced a large number of fresh and unworldly landscape poems and poets, such as: knots in the human realm, and no carriages and horses. Asked Jun He Neng'er, his heart was far away from himself. Under the eastern fence of the chrysanthemum, you can leisurely see the South Mountain. The mountain atmosphere is good day and night, and the birds are returning. There is truth in this, to discern what has been forgotten. (Tao Qian," Drinking)
Taihang Honggu Temple 45cm × 135cm ink on paper
Scholars take the natural landscape as the main body of aesthetics, appreciate the forest spring, from the real to the virtual, the mind and nature blend together, transcending into the mysterious realm. They attach great importance to the observation of objective nature and self-aesthetics, and Zong Bing's "Cheng Huai Taste Elephant" and "Ying Ming Mind" in Zong Bing's "Order of Painting Landscapes" are a special way of connecting the aesthetic subject and object, emphasizing the contemplation of the beauty of nature and self-aesthetics. Wang Wei's "Looking at autumn clouds, god flying, facing the spring wind, thinking of Haodang" in Wang Wei's "Narrative Painting", and "Beyond the Image, In its Ring" in Sikong Tu's "Twenty-Four Products", all pursue the artistic detachment of poetry and painting.
Yunyang Zhang Fei Temple, 45cmx126cm Ink on paper, 2019
At the beginning of the development of Chinese landscape painting, because of the aesthetics and practice of the scholars, the poetic pursuit and realm of landscape painting were injected, so that the carving insect skills originally engaged in by painters became the way of self-cultivation of the literati, and also became the cultivation method of "Cheng Huai Guan Dao" and "Chang Shen Yi".
The Wei and Jin scholars lived in seclusion in the mountains and forests, admired the landscape, and cultivated their temperament, which was also inherited by the literati of the Tang Dynasty. Wang Wei, a famous poet and painter in the Prosperous Tang Dynasty, called himself a poet: "The fallacious poet of the world, the predecessor should be a painter." Also official and hidden, hidden in the Nantian River. His achievements in landscape poetry and landscape painting are outstanding, and he has achieved the unity of poetry and painting. Wang Wei has many paintings, according to the "Xuanhe Pictorial Notation", there were as many as 126 paintings of Wang Wei in the imperial palace at that time. After the Yuan Dynasty, Wang Wei's paintings were basically extinct, and now the so-called Wang Wei inkblots are mostly facsimiles, and there are two painting theories of "Landscape Theory" and "Landscape Tips" (biography).
Longjing Qiu Intention 44cm× 125cm Ink on paper
The formation of Gelu poetry in the Tang Dynasty created a large number of great poets, and Wang Wei was known for writing landscape poetry, and he wrote many poems in his lifetime, with a realm of elegance, distance, plainness, and ethereality. For example: the cold mountains turn green, and the autumn water is slow. Leaning on the cane outside the firewood door, the wind listens to the twilight cicadas. The sun sets over the head of the river, and there is lonely smoke in the ruins. Compound value received public opinion drunk, singing wildly before five willows. (Wang Wei," "Lianchuan Idle Residence Presents Pei Xiucaidi")
Stone House Cave Day 45cm×68cm Ink on Paper, 2019
The poem begins with the green cold mountain as a distant view, and the gentle autumn water from far and near; the firewood yard and the cicada's staff are always close-up, and the crossing, the sunset, the village, and the lonely smoke are pushed far from the near: a good landscape painting with deep scenery and rich layers. Another example: after the new rain in the empty mountains, the weather is late and autumn. Bright moon pine light, clear spring stone upstream. The bamboo hustle and bustle returned to the raccoon girl, and the lotus moved down the fishing boat. Feel free to rest in the spring, and Wang Sun can stay for himself. (Wang Wei, "Mountain Residence Autumn Dawn")
Lion Grove Mountain Building 45cm× 67cm Ink on paper
Tiger Hill Manuscript 45cm× 67cm Ink on Paper
Lion Grove Sleeping Room 45cm× 67cm Ink on paper
After the rain, the mountains appear empty, and there are bursts of coolness; the bright moon in Matsuma, the clear spring on the stone moves quietly, echoing back and forth; the bamboo noise and lotus movement, looming raccoon girl and fishing boat; the two verbs "return" and "down", unfold in the scene with the continuity of action: Zhen Nai after the rain mountain residence map. Wang Wei's poems are good at depicting a variety of scenes and displaying them in an orderly manner, just like a landscape painting with a proper layout, a harmonious scene, and a profound artistic conception. Wang Wei's landscape paintings "Snow Creek Map" and "Jiangshan Snow Ji Map" (biography) are indifferent and cold, with deep charm and poetry. Yuan Tangyuan said that Wang Wei "liked to make snow scenes, sword pavilions, boardwalks, nets, xiaoxing, fishing, snow crossings, forest markets, etc."
Wang Weiduo's snow landscape is related to his aesthetic and state of mind. After a heavy snowfall, the chaotic scene of heaven and earth in all directions was covered, and it was naturally shaped into a distant and pure realm, or heaven and earth became a natural realm of ink landscape and water, which was not a scene for Wang Wei, whose heart was away from the world, who liked silence and elegance. Wang Wei believes: "Among the paintings of the husband, ink painting is the highest. The nature of nature, the work of creation." Landscape paintings before the Tang Dynasty were mainly green and green. Since wang Wei, ink painting has begun to prevail, which clearly has the meaning of returning to simplicity, Chinese painting began to change from a gorgeous painting style to a simple painting style, and ink painting has a simple, elegant, long-distance, and clear charm, which is what Wang Wei advocates and pursues.
Autumn is getting thicker, 45cm×54cm ink on paper
During the Two Song Dynasties, the literati were more advocating the unity of poetry and painting, and Su Dongpo once commented on Wang Wei: "There are paintings in the poems of the Taste of Maha, and there are poems in the paintings." What is inherited and advocated is the poetic meaning of "the unity of poetry and painting". The Royal Painting Academy of the Song Dynasty recruited painters, and the examination often used poems as titles, and Deng Chun's "Painting Succession" recorded: "The questions tested, such as "Wild Water No One Crosses" and "Lonely Boats Crossing the Sun", from the second person below, mostly on the shore of the empty boat, or the fist heron in the port, or the crow on the back of the canopy, the sole leader is not." Painting a boat of people, lying on the tail of the boat, and a lone flute horizontally, means that it is not a boatless person, but no pedestrian's ears, and it is very idle to see the boat." Many candidates have drawn the river, the heron, crow or parked in the port between the boats, or perched on the back of the canopy, and the winner painted a person sleeping on the stern of the boat, with a pipe flute next to it, indicating that there is no one on the boat, but no one crossing, it can be seen that the boat is too idle and asleep, and the meaning of tranquility is described very interestingly. 『...... Another example is the 'Chaotic Mountain Tibetan Ancient Temple', where Kui paints barren mountains full of banners and poles to see Tibetan meanings; the remaining people are exposed to the tip of the pagoda or a partridge kiss, and often those who see the temple have no intention of returning to Tibet." Some examinees were processed into mountains and forests exposing the spire or eaves of the temple, and many people painted the temple halls, with no hidden intentions. The first candidate painted a painting full of barren mountains, revealing a banner pole, there must be an ancient temple in the deep mountain, the artistic conception is all out, and the so-called scenery is deeper and deeper.
Xiling Autumn Rain Figure 146cm× 185cm Ink on paper
Wang Guowei believes in "Human Words" that the realm "there is a realm of self, a realm of no self." Tearful eyes asked the flowers and flowers did not say a word, chaotic red flew over the swing to go to ''Cankan Lonely House Closed Spring Cold, Cuckoo Sound in the Slanting Sun Twilight', there is my realm also. 'Picking chrysanthemums under the eastern leaves, leisurely seeing the South Mountain' 'The cold waves fade, and the white birds slow down'. The realm of no-self also."
"The Realm of No Self" is a calm and bland way to depict natural scenes, to transform the self into nature, and to create an aesthetic contemplative realm that seems to dissolve all contradictions and conflicts in the human world, so I don't know what is me and what is the thing. We can experience this aesthetic expression from the landscape paintings of the Song Dynasty.
Moraine Lijia Villa 124cm× 124cm Ink on paper
"The realm of having me" is an artistic realm that clearly expresses subjective feelings, with my viewing of things, mostly with subjective ideas to examine natural objects, ingesting the image of scenery that adapts to my state of mind, or empathizing with things, or paying attention to the situation, so that natural objects carry their own emotional color, creating a realm of distinct feelings. We feel this aesthetic pursuit from the landscape paintings of Yuan, Ming and Qing painters such as Ni Zhan, Dong Qichang, Shi Tao and others.
The so-called no-self does not mean that there is no painter's personal emotion in it, but that this emotion is not directly exposed, but is integrated into it, immersed in nature, and embodied the ever-changing posture and endless interest of nature. Through the depiction of natural scenes, the painter's life feelings and thoughts and feelings are expressed, and the unity of subjectivity and objectivity is achieved, and the harmony between emotions and scenes is achieved. Song Dynasty Guo Ruoxuan's "Picture Seeing and Hearing Zhi" Yun: "Painting landscapes only Camp Hill Li Cheng, Chang'an Guan Tong, Huayuan Fan Kuan... Three Dingzhi Hundred Generations, The Standard Journey Is Ancient." Each of the three houses has its own characteristics: "The weather is sparse, and the smoke forest is clear... The system of the camp hill is also; the stone body is solid, and the miscellaneous trees are abundant... The wind of the Guan clan is also; the peaks are thick and the momentum is strong... Fan's work also. These three styles are mainly derived from the painter's lyrical description of the objective natural environment and regional characteristics of Qilu, Guanshan, Taihang and other places that he is familiar with. The above is the artistic expression of the northern landscape.
Ink on paper, 45cm x 64cm, an der Seine, 2019
The landscape in the south brings another kind of interest, and Mi Fu's "History of Painting" Yun: "Dong Yuan is plain and innocent... Peaks and peaks, clouds and mist are obscure, do not pretend to be funny, all have fun. Lan is lush, the branches are strong, and there is business in salt; Xiqiao Yupu, Yuanzhu is hidden, and a piece of Jiangnan is also." It can be seen that due to the different regional styles, the painter's feelings about nature, aesthetic pursuits, and artistic expressions are also different.
The painters of the Five Dynasties and the Two Song Dynasties attach great importance to the "creation of teachers" and make detailed observations of natural objects. Jing Hao, as a master of landscape painting from the top to the bottom, lived in seclusion in the Taihang Honggu For a long time, opposite nature at dawn and night, and wrote about the ancient pines of Taihang, which was recorded in his "Notes on Brushwork": "... Surprised, appreciated everywhere. Tomorrow I will write it with a pen. Tens of thousands of copies, as true as they are." In the text, he discussed the difference between "like" and "true", "the like one gets its shape, loses its breath, and the true one has a strong temperament", and believes that "the painter, the painter, the painter, the object and the image and take its truth... Gou seems to be able to also. The picture is really out of reach also'. Jing Hao believes that only through careful observation of natural objects, understanding the essence of objects, and refining their charm, can they "pictorialize". This is a more explicit view after Gu Kaizhi's "Theosophical Theory" and Sheikh's "Qi Rhyme Theory". The essence of "Tu Zhen" is the unity of the object and the self expressed in the artistic conception.
Fengdu Mingshan 45cmx126cm Ink on paper, 2019
And there is my realm, which we can feel in future landscape paintings. In the Yuan Dynasty, literati paid attention to academic cultivation, and everyone collected poems, books, and paintings in one, and paid attention to expressing subjective attitudes and life interests in painting. This tendency to emphasize personality cultivation, emotional expression, and self-expression is the so-called "freehand" tendency, which is also the characteristic of literati painting.
When it comes to literati painting, it is impossible not to mention some literati such as Su Shi and Mi Fu of the Northern Song Dynasty, and it is Su Shi who put forward the concept of "scholar painting". He said: "The viewer paints as if he were reading the world's horses, taking his will, but if he paints, he often takes only spurs, furs, craps, and crops, and does not have any handsome hair, and he is tired after looking at a few feet." Han jie zhenshi people paint also." He believes that the difference between scholar painting and painter painting is that the scholar pays attention to "spirit", while the latter only takes "fur". Therefore, the painting of scholars does not lie in the "shape", but in writing about its anger and conveying its demeanor.
Dazu Grottoes (one of the sketches) 45cmx67cm Ink on paper, 2019
Ni Zhan Zengyun: "Drawing a scene, the twists and turns can be as wonderful as possible, but I can't cover it." If the grass is dotted with dyeing and leaving behind the shape of the yellow mussel, it is not the meaning of the picture. The so-called painter of the servant, but the brush is sloppy, does not seek to resemble, and talks about entertaining the ear of self-amusement" "Yu Zhizhu talks about writing the yiqi ear in the chest, and it is more similar and not, the leaves are complex and sparse, and the branches are oblique and straight." He believes that painting is not similar in shape or in the same color, but in the expression of "breath in the chest" to "entertain oneself".
Wu Zhen also believes: "The work of ink drama, in addition to the words of Dr. Gaishi, is of interest for a while." By using certain natural scenes, the pen and ink interest is used to convey the subjective ideas of the painter. Among the painters of the Yuan Dynasty, Ni Zhan's paintings are the most representative, his paintings are always a group of trees, a thatched pavilion, a distant flat slope, the interval of the river water is not a stroke, and there is no point scene figure. However, in these extremely common Jiangnan water features, through refined pen and ink, he creates a quiet, sparse, indifferent and natural aesthetic mood, giving people a feeling of leisure and coldness.
Tongjunshan 45cmx67cm Ink on paper, 2019
In the pursuit of character— Huang Gongwang's freedom, Wu Zhen's thickness, Ni Zhan's simplicity, and Wang Meng's complexity—all had their own aesthetic pursuits and pen and ink language. The literati painters of the Yuan Dynasty made in-depth explorations in the aesthetic interest and formal language of landscape painting, and tended to mature and improve from theory and practice. Dong Qichang believes that the place where the literati paint high and discharged the body painting lies in the transcendence of the expression of natural objects and the expression of the inner mind.
From the Yuan Dynasty, the tendency to emphasize books into paintings, emotional expressions, and self-expression began to appear, and there was a new development in the Ming and Qing dynasties, which was the establishment of the aesthetic value of pen and ink in literati painting. The knowledge and understanding of pen and ink by Ming and Qing literati painters became richer and deeper, especially Dong Qichang, who believed that pen and ink had independent value, the so-called "strange theory of strange paths, painting is not as good as landscape; with the subtlety of brush and ink, landscape is not as good as painting". He was already consciously aware of the existence of two different worlds, one was the objective world of natural creation and the other was the subjective world of artistic expression. Man can distinguish and interdependence between the artistic realm he has created and the natural creation, and the subjective expression that embodies man is pen and ink. Therefore, the level of the realm, the vividness of the charm, the expression of emotions and the pen and ink are closely linked, and the expression of brush and ink shows the painter's aesthetics, thoughts, temperament, education, temperament and many other content that can be evaluated.
Mandarin Duck House, Humble Administrator's Garden, 47cm× 67cm Ink on paper
Ming and Qing landscape painters all take the Song and Yuan dynasties, the so-called "Yun Song people hilly valley, Xingyuan people brush meaning, set song and Yuan dacheng", although the overall artistic achievement can not surpass the Song and Yuan, but some painters such as Wen Shen, Dong Qichang, the four kings, the four monks, Gong Xian, etc. have made breakthroughs in aesthetic character, artistic expression and pen and ink language.
The artistic expression of landscape painting is the transformation of the spiritual perception of "subject to the eyes, swimming in the heart", which is the result of the fusion of the painter's material and self. Therefore, Chinese people pay more attention to perception and feeling, the difference between vision and perception is that vision is perceptual and intuitive; while perception perceives things from the heart, and perception often uses the aesthetic emotions and interests of the subject to transform the object image to a certain extent, which is a comprehensive and complete perceptual whole. Feelings are just as different from feelings. Zheng Banqiao Zeng Yun: "In the early autumn of Jiangguan, when you look at bamboo in the morning, smoke, sun shadow, and dew, all float between the dense leaves. The chest is full of emotion, so there is a sense of painting. In fact, the bamboo in the chest is not the bamboo in the eye. Therefore, the ink is polished and the paper is displayed, and the pen is disguised, and the bamboo in the hand is not the bamboo in the chest." The "bamboo in the chest" in the middle can be regarded as the subject's aesthetic perception, which is full of vitality and full of meaning, and it contains the aesthetic feelings obtained by the subject in the contemplation of nature.
Lingering Garden Quxi Building 47cm× 67cm Ink on paper
Huang Binhong believes: "Ancient paintings are precious, have been handed down to the present, with Dong, Ju and Ermi as the positive, pure inner beauty, is the author's character, learning, mind, and circumstances, and has a wide range of contents." And "inner beauty" is the realm advocated and pursued by literati painters, which depends on the painter's aesthetics, temperament, character, education, temperament and unique pen and ink expression language. Natural scenes in the painter's artistic creation, or majestic, or quiet, or quiet, or depressed. Through the creation of artistic conception and the expression of brush and ink, the poetic character and aesthetic realm of the painter are revealed. Fang Xuan Zengyun: "Meaning is strange, meaning is high, meaning is far away, meaning is deep, meaning is ancient, mediocre is mediocre, and vulgar is vulgar."
Pan Tianshou believes: "The superiority of art is ultimately in the realm." From the works of the past generations, we can feel those unique artistic expressions, such as the Shenxiong and majestic atmosphere of Jingguan, the beauty and thickness of Dong Ju; the simplicity of the cloud forest, but there are many dusty causes; the openness of Shi Tao, and often the strangeness of extra-law. To be a Chinese painter, you need to continue to learn, constantly understand, and constantly improve your aesthetic character and intellectual cultivation, and your understanding of natural things and the performance of pen and ink will continue to improve. If a person expresses his self-feelings instinctively, willfully, and vulgarly all his life, it means that his understanding and cultivation in this life have not improved, so it is impossible to reach a high realm.
Fu'an LianCun 44cm× 125cm Ink on paper, 2019
The artistic expression in traditional landscape painting is summarized and refined by the language of pen and ink after the predecessors contemplated nature and contemplated the creation. Its pen and ink techniques can be learned and learned, of course, pen and ink performance is amorphous, learning pen and ink techniques is only a means, it requires us to be flexible, to develop, from the function of the depiction of the object to convey their own unique inner feelings and artistic expression. We need to obtain creative materials and inspiration from natural objects, and "external teacher creation" is the way, and more importantly, "the source of the heart". Through subjective feelings to express natural objects, during which each person's feelings are not the same, and there are differences in performance in the works. The painter realizes his aesthetic pursuit through brush and ink, expresses his thoughts and feelings, and shows his unique feelings and understanding of natural objectivity.
Everyone is perceptive in the face of nature, not only painters, but also poets, but the talent of painters is expressed through the language of brush and ink. The same painter, facing the same scenery, due to the difference in subjective feelings, will be different in the artistic conception, composition processing, language form and other pen and ink expressions. Pen and ink here is no longer just the use of pen and ink, but the pursuit of what Qingren Buyantu believes of as "both pen and capture". Other factors of Chinese painting, such as emotion, charm, realm, etc., are integrated with pen and ink, and cannot exist without pen and ink, which is the implementation of these elements.
Dazu Grottoes (Sketch Ii) 45cmx67cm Ink on Paper 2019
Chinese landscape painting is the most comprehensive development in traditional painting, and many people think it is difficult to expand, but in modern times, many people have appeared, using pen and ink language and artistic expression to create their own new realm. For example, Huang Binhong's paintings have both the strict order of Song paintings and the freehand of the Yuan people, starting from the Golden Stone Seal, with a thick and spicy pen, the knot body is more unrestrained and free; with ink on the su ink and new ink, the picture appears thick and huazi, breaking out of the world in the artistic expression and pen and ink language.
Lu Yushao's extensive acquisition of Song and Yuan landscape paintings, and in and out of the North and South Sects, mainly from the Yuan people's pen and ink and schema, and in the natural scenery and life experience to obtain a new context, especially the performance of clouds and water, vivid and rhythmic, thanks to his understanding of the use of the pen and the grasp of the artistic conception. Their works, with the artistic conception expressed by brush and ink and dot lines, everywhere show the artist's emotions and personal artistic pursuits. For example, in the paintings of Huang Binhong, Li Keyan, Fu Baoshi and Lu Yushao, even a small part, or even a few lines, can highlight their distinct artistic styles. Therefore, it can be said that the artistic expression is not only between the mountains and mountains, but also reflected in the pen and ink of a little bit and a line.
Outside Paris, 45cmx64cm Ink on paper, 2019
People who are engaged in the practice of Chinese painting creation have experienced that it is easy to talk about pen and ink, but it is difficult to learn and master pen and ink, and it is even more difficult to make pen and ink become their own expression language. However, because of the difficulty, the height and depth of pen and ink expression cannot be weakened, making it a game that everyone can easily play, and reducing the elite nature of Chinese painting to a popular aesthetic taste, with no character and realm to speak of.
There are two obvious defects in the creation of contemporary Chinese painting: one is that the traditional research is not deep, and some traditional techniques are learned as the goal, and they lack their own aesthetic pursuit, life feelings and artistic expression, and pen and ink language; second, the expression of natural life is too straightforward, lack of refinement, and lack of height in both artistic expression and pen and ink language.
Tushan Temple, Chongqing, 45cmx67cm, ink on paper, 2019
The main reasons for this situation are: the lack of aesthetic values and evaluation standards of traditional Chinese painting, many innate deficiencies in the aesthetic taste, personality cultivation and cultural connotation of painters, the lack of deep research on pen and ink language and artistic expression, and the lack of attention to traditional culture in Western-style modern education, and the natural lack of poetry, literary heart and sentiment in painting. At present, we do not lack the breadth of Chinese painting performance, what is missing is the height and depth of Chinese painting expression.
The second spring in the world, 45cmx126cm ink on paper, 2018
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