Small bridges flowing water, deep in people's homes.
Jiangnan's poetic love is silent and terrifying, so how can people not read it?
Without speaking, my heart was full of flowers.
Jiangnan during the Southern Song Dynasty
Jiangnan, in fact, has long been more than just a regional concept. Its conformity, because of its natural nature, has evolved into one of the unique aesthetic symbols in art history. Ideal and reality are equally important, and both customs and elegance are available. Perhaps, it is the era of the most understanding of life.
But Jiangnan during the Southern Song Dynasty was very different.
Because at this time, the sovereign court is far away from the Central Plains and prefers the side of security. The emotions of frustration and unwillingness are like birthmarks, and the hidden pain of the times is spreading from time to time like a thin twilight smoke. With this trend, the panoramic landscape recreated by Fan Kuan in the past in the "Journey to The Stream and Mountain" and the freehand style created by Mi Fu with "Yi Pen Grass" had to be reversed, moving towards the psychological space of half and corner, and continuing to find the true meaning of the context at the end of the detail.
There are countless stories of love and hatred and homeland hidden in the rich collection of the times, so it is not appropriate to view art at this time to be fully politicized, nor is it recommended to blindly praise. Perhaps, in the real situation, it is more interesting to take a closer look at the real taste of the work.
The Southern and Northern Song Dynasties are connected by blood, and the continuation and innovation are endless. Rice soup fish, apricot blossom spring rain, Wu Nong soft language said Jiangnan. Landscape tea, fuqin perfume, the world's concentrated imagination and soft yearning for a better life are also in these details.
For "beauty", the Southern Song Dynasty people may know more than we do now.
The ultimate affection of the remnants of the mountains and waters
The famous art historian Gao Juhan once wrote this recommendation for Song painting: "In their works, nature and art have achieved a perfect balance. They use strange techniques to achieve the right painting effect, but they never touch people with pure magic; a classical self-control grasps the whole expression and cannot be indulged. The artist seems to have been exposed to nature for the first time in his life, responding to it with a sense of wonder and awe. The freshness of their horizons and the depth of their understanding are unparalleled in future generations. ”
This passage is affectionate, indicating that Gao Juhan's deep understanding of Song painting is also incomparable. His point of intent is "the perfect balance between nature and art."
So, what kind of balance is it? And how is the balance achieved?
Recently, with the opening of the first exhibition of the National Palace Museum in Taipei in 2022, "Silent Poetry - Southern Song Dynasty Sketch Painting", the aesthetic fashion of the Southern Song Dynasty once again focused on 33 pieces (groups) of Song paintings, and this visual balance may be slightly comforted.
Exhibition time: December 31, 2021 to March 27, 2022
Venue: National Palace Museum, Taipei
In the history of Chinese calligraphy, the thin gold body is very unique. The imperial power of the feudal dynasty is supreme, the fashion direction is all based on the royal horse, and the thin gold body itself is also tonal, and the "Strange Stone Poems" of Zhao Yao in this exhibition can be called an example; Ma Yuan's two sketches "Spring Walk on the Mountain Path" and "Xiaoxue Mountain Trip" are very popular with me. The wildflowers in the tentacles dance by themselves, avoiding people and birds. The former depicts a man strolling through the willow path, looking ahead and inscribing a poem. The pictures and texts are relative, which can be insightful of the creative ingenuity, and the pen and ink are also subtle and not wordy. The latter is even more vivid in expressing the unfinished meaning: in the morning after the snow, mountain people drive two small donkeys carrying charcoal to walk on the snow-capped mountain path. People hunch their backs and necks because of the cold, the presentation of pheasants, charcoal and donkeys is vivid and realistic, and the comprehensive superposition of local framing, near and far pen and ink and thick and light effects makes the overall sense of space strong.
Song Huizong's "Strange Stone Poems"
Song Gaozong's "Seven Verses of the Book"
No style Canopy window to sleep
Song Ren 'Poems》
Ma Yuan's "Spring Walk on the Mountain Trail"
Hui Chong(biography) "Cold Forest Mandarin Bird Diagram"
Song Ren "Character Diagram"
Through the "Ten Views of the West Lake" painted by Ye Xiaoyan of Hangzhou, you can directly get a glimpse of the appearance of the West Lake during the Southern Song Dynasty. This volume adopts the form of poetry and painting, and is dedicated to presenting the different views of the ten scenic spots of the West Lake. With a simple pen, color ingenuity, spread out in one breath, sprinkled with foreign flowers, interesting and amiable; the benefits of the year must be remembered, it is orange, yellow, orange and green. Zhao Lingyong's "Orange Yellow Orange Green" is set in green and green, with Pingyuan paintings winding waterfronts, flanked by yellow oranges, green oranges dotted with dots, and there are still eels between the sand. Although it is small, the weather is very large, and it is a poetic masterpiece; Chuan Huichong's "Hanlin Mandarin Bird Map" takes the goose and goose heron as the theme and the Hanting Yuanzhu as the composition, showing a dashing and empty scene; the integration of small scenes in "Xishan Twilight Snow" is extremely vivid; the corner composition of "Pinghu Xueji" is close to Xia Jue, in which the willow trees on the slope of the slope are low hanging, and the bamboo hedge houses are hidden in the trees, bringing out the natural tranquility.
Zhao Lingyong (biography) "Orange Yellow Orange Green"
Song Ren "Sunset Snow Map of Xishan Mountain"
Ye Xiaoyan's "Ten Views of the West Lake"
Song Ren "Pinghu Xueji Map"
Ma Yuan's "Map of Xiaoxue Mountain"
Deep forests have the sound of springs and waterfalls, and verdant pine trees are coiled. Li Tang's "Sitting on a Stone and Watching the Clouds" depicts the second Gao Shi Linliu Mao foot, looking happy. Watching this work, you can appreciate the situation of Wang Wei's poem "Walk to the end of the water, sit and watch the clouds rise"; in Xu Daoning's "Panasonic Dragging Staff", the staff scribes walk out of the path, stop and listen to the song rhymes, the scarf and hat belt is slightly raised by the wind, trying to present the sound mood of "listening to the pine" in a flat painting, which is quite challenging; in "Sleeping in the Tent Window", the breeze blows across the water, the willow tree sways in the wind, and the white-clothed fisherman stretches his waist and arms, which is quite comfortable.
In "People", the protagonist sits cross-legged and half-on the bed, next to the table, pier, piano, scroll, tea stove, potted flower, etc., which is the best portrayal of the Song Dynasty scribe's love of quaintness; only afraid of sleeping in the middle of the night, so he burns high candles to illuminate red makeup. In the Southern Song Dynasty, the custom of flower appreciation was prevalent, and Ma Lin's "Night Tour with Candles" can see the romantic feelings of the royal family's night viewing of begonias; in addition to flower viewing, the tide viewing is also a graceful event of the Southern Song Dynasty. Li Song's "Moonlit Night Watching the Tide" is gorgeous in architecture, and the courtyard is dotted with stacked stone rockeries. In the meantime, the figures were originally painted with dots of powder, but unfortunately they fell off because of their age and were not obvious.
Li Tang,"Sitting on the Stone and Watching the Clouds"
Feng Dayou "Too Liquid Lotus Wind"
Xu Daoning (biography) "Matsushita Dragging Staff"
Ma Lin's "Candlelight Night Tour"
Ma Lin", "Fang Chun Yu Ji"
Li Song's "Moonlit Night Looking at the Tide Map"
"Water Temple Beckons Cool"
Southern Song Dynasty artists' direct depictions of flowers, flowers and plants are even more elaborate: one night when the autumn wind rises, the dew drops turn over the pond lotus. Feng Dayou's "Tailiu Lotus Wind" shows the lotus leaves of the pond leaning upwards, the swallow butterflies flying above, the red and white lotus flowers flying beautifully, and the beauty of the Southern Song Palace Garden overflows into words; Ai Xuan's "Sketching Poppy" is brilliant as the fresh poppy of the sun with a pen design method, which is both thick and thick; Lin Chun's "Orange Yellow Orange Green" depicts the leaves hanging from the left oblique leaves with full oranges, the orange fruits are almost golden, the orange fruit is shallow, and the superb sketching technique complements the poetry of the eastern slope; the shadow horizontal oblique water is shallow, and the dark fragrance floats in the dusk of the moon. Ma Lin's "Dark Fragrance Shadow" shows a branch full of plum blossoms stretching out on the water, with weeping bamboo on the plum and bamboo leaves on the branches. The reflection of plum bamboo carefully drawn by the author can also be seen on the river surface below. Triggered by vision to induce olfactory fantasies, it successfully transmits this subtle, difficult-to-depict mood.
In a small square inch, the poetry is endless.
Passing by the world, it is safe as usual
Art has always been the most sensitive part of the times.
From the macroscopic universe to the overflowing details, from accurate reproduction of nature to willingness to imagine freely, the Southern Song Dynasty has always known how to stay awake and alone in the remnants of the mountains and waters.
"Never has a dynasty, like the Southern Song Dynasty, like a butterfly in metamorphosis, blooming brilliant wings in the struggle, exposing its delicacy and fragility to the iron hooves of the Yi people from the beginning. While you lament its half-wall ruins, you can't help but surrender to its ultimate charm and grace. ”
When I read this passage a few days ago, I deeply believed it.
Chen Youyi's "Poetry of Daffodils"
Xue Shaopeng's "Book Ruler"
Song Ren "Silk Chrysanthemum"
The Southern Song Dynasty designated the name of the capital city as "Lin'an", which implied too much tragedy and helplessness. It's just that, passing through the human world, whose life is not a kind of Lin'an? Through the change of the southern crossing, the sense of impermanence prompted the Southern Song Dynasty people to cherish the real scenes around them and the things that can be controlled and are close at hand. In the more than 100 years of this remote security, the Maritime Silk Road was opened, Quanzhou became one of the three major ports in the world, and Lin'an not only became the "first state" of the Southern Song Dynasty, but also the world's largest metropolis in the twelfth and third centuries. Marco Polo once called it "The City of Heaven" and praised it as "the most beautiful and magnificent city in the world", and Japanese scholars have called this happy prosperity "the Renaissance era of the East".
It is difficult to build a country on the ruins, but no matter when and where, the Southern Song Dynasty government has always adhered to the power of culture, and at the same time implemented the strategy of attaching equal importance to agriculture and commerce, and the ideas used by the world gradually formed a consensus of the people, and the sadness and helplessness and indignation were gradually reconciled in the landscape resorts of Hangzhou. The aesthetic taste of the Southern Song Dynasty blossomed in such a complex social pattern and a prosperous urban culture.
Southern Song Dynasty Lin Chun "Sketching Begonias"
Lin Chun "Sketching Jade Hairpin"
Lin Chun 《Autumn Qing Cong Juju》
Lin Chun "Camellia Ji Xue"
Ai Xuan's Sketching Poppy
Lin Chun 《Orange Yellow Orange Green》
Ma Lin's "Dark Fragrance Shadow"
The remaining water of the remnants of the mountains is also naturally beautiful, and the trend is still firm. A generation of grandmaster Li Tang created a work of ink and vigor, inheriting his technique Liu Songnian continued to move forward, and Ma Yuan and Xia Gui went further. Their special framing of small ideas, ink and ink, half and corner allows the viewer to focus on the subtle microscopic world. Panasonic stirred the wind, listened to the sound of the piano, and was sure of the fireworks in that corner.
The eye is closed, not in the whole picture. The aesthetic realm of the Southern Song Dynasty Chenghuai Guan Dao became a wonderful realm where there was no painting, and this kind of virtual reality was entangled in the Yuan Sijia and finally achieved great success.
Attached: As one of the important collections of Song paintings, the National Palace Museum in Taipei has rich resources for Song paintings. In 2021, the Complete Collection of Song Paintings and Volume IV (Volume 4 of the National Palace Museum in Taipei) of the Chinese Painting Department of Past Dynasties was published, and for the first time, the main body of Song paintings in the Collection of the National Palace museum in Taipei was published for the first time, with a total of 223 pieces (sets), which can be regarded as another important path to get close to the aesthetics of the Southern Song Dynasty in addition to painting.
Note: The pictures in this article are from the Internet