The festival is a day of rubbing heat; during the Spring Festival, the heat is incomparable. To warm up the heat and find a hot spot for the Spring Festival in the harsh winter, is not the "right posture" to welcome spring?
From the "Republic of China fever" to the "Song Dynasty fever", it shows that an era that understands aesthetics and can create beauty is the most influential era, and it will always be popular.
Entering the "heat" began with the general history writing action of "rereading Chinese history" following "Cultural Jiangshan". From 10,000 years ago, all the way to the tenth century AD, I actually found that this was an era that knew aesthetics and would create beauty, which was the popular Song Dynasty.
In addition to the mainstream historical narratives of canonical relics, social and people's livelihood, and political economy, the most original and contributed to human civilization in this era is the emergence of independent art.
"Independent art" began in the field of painting and was manifested in two aspects: first, there were individual professional painters with free and independent identities, such as Jing Hao, and groups of scholar painters who only created for interest, such as Dong Yuan, Mi Fu, Su Dongpo, etc.; secondly, the theme of painting tended to be independent, such as the creation and rise of landscape painting, which soon replaced the past "missionary figure painting" and became the mainstream of painting. Among the large number of paintings of art for art's sake, a Song Dynasty Renaissance took place.
In the Spring Festival of 2022, we will rub the heat of the Song Dynasty, walk into the Song painting together, and have a beautiful Spring Festival in the Song painting.
No matter what kind of plague and tragedy occur in this world, and no matter what kind of great changes the world will face, the pace of the four seasons will not stop. Therefore, even if the footsteps of human beings are hesitant, they cannot stop, and there are always things full of hope to accompany us through the cold and relay in the cycle of four seasons.
When the Spring Festival arrives, the living people have to raise ten thousand spirits, rock on Juran's "Snow Map", humor in Mi Fu's "Spring Mountain Ruisong Tu" and Liang Kai's "Splash Ink Immortal Figure", plant "Mo Lan" in Zhao Mengjian's paper garden to raise "Narcissus"... Before you have a quick sigh, maybe even think of how to "eliminate summer", then let's go to Zhao Lingyong's "Lake Village Summer Elimination Map" to cool off, and then walk into Zhao Yao's "Red Indigo White Goose Diagram" to see through the depression and impermanence of autumn. After penetrating thoroughly, you may return to your normal heart, and then use your true eyes to appreciate the riches of the flowers and birds of Huang Tsuen.
Spring Snow Mountain:
Look for the vitality of the soul eater
Ju Ran was a student of Dong Yuan, and after the Southern Tang Dynasty was destroyed by the Northern Song Dynasty, he went north to Kaifeng with the descending lord Li Yu and lived in Kaibao Temple. He brought the landscape painting style of Jiangnan "Smoke and Mountains" to the north and received enthusiastic support, but his own painting theme changed, and began to express the northern landscape, especially the northern winter snow atmosphere.
According to Dong Qichang's appraisal, "Snow Map" is from juran's hand. To be sure, xuetu let go of the inner restraint of the master on him. He completely released himself, more personality, more unrestrained, more passionate, more exuberant in the "blank" between. The whizzing bottom of the pen is spontaneous, and the wayward "wilderness" is another piece of his spiritual territory.
Snow is still, as quiet as a virgin. But the snow bottom is moving, there is life in the budding, and it is the speed of life running to the spring, like a rabbit that makes all the fortifications too late to block the moment, generating an aesthetic light, illuminating the impulse of psychological vision, to touch the enthusiasm of the snow bottom, scattered perspective, revealing the touch of life considerate life.
"Snow Map" shows the cold atmosphere in the north, with Li Cheng's coldness, which can be cold and eroded. But Li Cheng's dry and cold qi had to be the cold and willful in his bones to be able to achieve it. And Juran, with the wet cold of early spring and February in Jiangnan to be considerate of "Xiao Kuang dry cold", therefore, his "Xiao Han" does not see a trace of cruelty, pure and beautiful, reckless snowfield, undulating and dangerous full of vitality. Isn't it "the great virtue of heaven and earth"? He did not focus on the birth of spring, but indulged in the winter of the main killing to find the vitality of the soul.
As long as there is snow, there is the vitality of the snow cover, with his scorching visible hot intestines, to depict the inner expectation of life, to declare to the world that behind the cold and cold killing, there must be a piece of vitality, the snow bottom has long been generated "spring has a hundred flowers, autumn has a moon, summer has a cool breeze and winter has snow" image.
《Snow Map》
The highest peak of the painting may come from the time when the painter's emotions are at its fullest, full of mountains like dragons, looking down the ridge, the main peak covered with snow, like Lao Tzu squeezing the eyebrows of the ancients, piling up a thousand years of kindness; the vice peak is like a long-lost old friend, when the wine is hot, the next line of flying streams, the dry mountain friends at the foot of the side will gradually bend the water flow, all have their own literary heart, as if the dragon vein can be carved.
He seemed to grasp the melody of the snowy mountains, hear the joy of life hidden under the snow, and find the inner rhythm in the undulating earth. With the delicacy of the artist, listening to the "out of nothing" in the cold winter, and then with the sensitivity of the prophet, the news that life has sprouted and the flowing water has quietly melted, such as "The Sound of Music" singing until the snowflakes melt into spring.
The most dizzying thing is the hill creeping at the foot of the two peaks, in the middle of the vertical axis, the undulating hillside is stretched by the snow covered, such as the heavenly snow coat, long sleeves, long sleeves, feather dance neon clothes, running high to the main peak, the main peak is running to the sky, running to freedom; the mountains are dancing, stretching and intertwining. The lines are like brocade, the ink rhymes like water flowing for years, think it is his monologue of the moment?
The painter's soul is so clear, taking care of the bottom of his pen, lurking in the snowy scenery to blindly explore the news of life, not seeing a trace of despair in Xiao Han, even if he is down, he will go to the snowy mountains to roll.
Spring Grass King Sun:
The past and present lives of a gentleman's personality
A century and a half later, Zhao Mengjian, the eleventh grandson of The Great Ancestor of the Song Dynasty, experienced the same pain of subjugation as Juran, except that one went north and one went south. The grandson of the fallen king, through scientific examinations, transformed into a scholar, was already in the last year of the Southern Song Dynasty. The celebrities still carry a strong temper of Wang Sun, plant flowers and grass in the ink, and find an inch of land in the spring grass.
For the first time, he gave an aesthetic style and aesthetic experience that symbolized "Shige", which transferred people's imagination of spring from the beauty of flowers and plants at the time of the cold years to the high realm of personality beauty. This prince wrote his "Shige Will" directly on the herb of "Shochiku Meilan Daffodil" in ink, giving "Caoge" a moral meaning of gentlemanly personality.
Narcissus
Zhao Mengjian is a "scholar", and in the process of approaching the personality of a scholar, perhaps his apocalypse comes from flowers and plants. In the attitude and posture of the flowers and plants in the early spring, he discovered the past and present lives of the gentleman's personality, so he hid with the spring grass every day, every gentle orchid, every little bit of daffodil, and the smooth ink was like their vivid blood flowing into the spiritual body of the painter and working with his personality.
Zhu Xi shouted for so many years that "gewu zhizhi" is actually not cognitive anxiety, but moral compulsion, he wants to "ge" out of the moral attributes of "things", abstracted as a gentleman's self-discipline precepts, imposing good and evil on the material nature, but losing the aesthetic tone, suppressing human nature. In fact, in Chinese history, there is an aesthetic activity that seems to be more adept at "grid objects", such as Zhuangzi's "god and material travel", Wang Xianzhi and the mountains and rivers reflect each other, all with the beauty of cosmic consciousness and sublimate humanity. Zhao Mengjian is more addicted to the gods and material travel in the ink, and the Songzhu Meilan daffodil is reflected in the feeling, and even formulates the aesthetic style of a gentleman's personality.
The painter treats himself with spring grass, but brings out a rich aesthetic meaning. The tip of the pen is full of thought juice is fresh, dripping into the spring grass, like the first bloom of morning dew, not seeking eternity, but the original beauty is eternal.
He is also symbolic, but he transforms the theme of the symbol with ink brushwork, symbolizing the personality of a gentleman. Borrowing the chant to self-condition, because of the freehand to lyrical, self-improvement, pay attention to the growth of their own personality and aesthetic style. Flowers and plants under the painter's pen complete the aesthetic atmosphere of setting off the gentleman's personality with literary taste. At this point, Meilan bamboo pine and daffodils were endowed with the aesthetic imagination of the literati.
The beauty of ink painting is an impermanent beauty that is difficult to freeze, it cannot lead us to cognition, and its wisdom is to tempt us to aestheticize. A fallen king and grandson were particularly sympathetic to this kind of "impermanence", and the impermanence of spring grass, the impermanence of man, and the impermanence of all things made him intoxicated. He began to carve orchids in water and ink, fixing the three impermanent fates as an instantaneous eternity.
The scroll "Mo Lan Tu" is no more than one meter long, no more than a foot long, and the paper is light ink, and there are two bushes of ink orchid grass on it. The land deeply rooted in Langen should be the most solid part of the picture, but the painter deliberately "flew white" and omitted the solid land. Maybe the painter didn't think about how the land under his feet should be displayed? Retreating from the Northern Song Dynasty to the Southern Song Dynasty, he could not find the artistic elements that could express the solidity of the earth, so he had to light two moss dots, but it was also magical.
The orchids are slightly thick in the competition, and on the hazy curves of the slight horizon, wisps of weak grass are popular around the orchid, and a few ruolan bloom in the light wind, like the painter's spirit awakening. But the spring cold of the New Year is expected to be steep, the painter has been too busy to "arrange drunken things, looking for friends", I don't know whether it is drunken eyes or tearful eyes, when using them to gaze at the tip of the pen, only to find that "the most pitiful, the flowers and branches are thin, and the laughter is still cold and still covered". Well, then paint the orchid leaves to shake them up and drive away the cold for Duo'er. Unfinished, continue to "enjoy the full joy, wait for the prosperity of the spring, and then will be on credit", then I will first credit, in advance with the annual meeting.
The painter Ai Lan, who brought his hometown orchid with him when he was a eunuch, traveled thousands of miles, and Wu Yuezhi Lan blossomed one or two stems in the land of Jingchu, and painted Wu Yue's stubbornness and the wild posture rooted in Chu land with the ink of impermanence. Celebrities are "wild", the personality should be like lan and not stained, and the elegance has the charm of dust.
Chinese scholars basically have a dual personality, the feelings of home and country and the hidden path, the two are entangled, it is difficult to choose, and they form a personality state that can be aesthetically pleasing in the entanglement, while indifferent, while worrying about the king and the people.
"The heart has only been revealed, and it has long been spread by the west wind." If "Mo Lan Tu" is "fangxin only reveals some children", then "Narcissus Picture Scroll" is Zhao Mengjian's posture in the face of spring, weeping with ten thousand emotions of sorrow and joy, diving into the ink world with the spring wind, in the dozens of daffodils rendered by the ink pen double hook, giving birth to leaves are colorful, pitching, thick and dense, like the brilliance of Wei Jin. What about the details? The flower buds are like clear tears, sprinkling the galaxy of the years, the impermanent heart of heaven and earth, "only the head of the white teenager", the youth is late, the daffodils are like "Du Ruomanting", quietly listening to Wang Sun sighing impermanence "away from the troubles and resentments", one bush after another.
In his later years, Zhao Mengjian learned to escape Zen, and painting mei was already a pen of retreat. "Tired of returning to the Fang tent, dreaming all over the landscape and water of Jiangnan." Who knows me, there are laurel shadows on the wall, plum blossoms on the window. The folded branches were put on paper. This is the "Three Friends of the Cold Year" that he put on the pill fan.
Three spring grasses, entangled and rolling, pine bamboo padding, plum blossoms with buds, creases still exist, naïve, wild fun, in the "spring early steep cold day" days, Zhao Mengjian "relived the whole bottle of wine flowers", after all, lonely, "overheard the begonias first sold, buy a branch to add". But "the burden of the head to see the spring of a hundred flowers, the spring is only three points." Besides, the three folded springs on the pill fan, how much is the spring event? Look at everyone's mood, "Hundred Flowers Spring" is not as good as a plum, the painter also wrote "Plum Spectrum", just like Jing Hao wrote "Landscape Tips" state of mind, that is, in the winter snow will do everything possible for the plum legislation, give spring medicine, cure melancholy, impermanence.
"Flowing year, fang dust, chagrin people empty old", people can not be empty old, every second to be old is very real. Zhao Mengjian's road to the ordeal of wang and grandson began with the most painful historical memory of the imperial family, the change of Jing Kang deeply rooted the hatred of the country and the family in his genetic genes, and he also "knocked all over the dry, silently staring at the day"; people will only figure it out when they are helpless, so they want to let go of some things that cannot be moved, and he wants to go into hiding.
"After several years of achievements, always wait for rong to kiss the elderly", look forward to "to the birthday table, flowers and grass", wait for "cups and plates, a pair of kind smiles". He finally wanted to raise his parents and send his heart to calligraphy and painting. He was indeed calm, did not abandon art because of the survival of the survival, Zhao Mengfu was more calm than him, and directly went out to reform his Zhao family's life. They can give up the Zhao family dynasty, but they can't give up his culture and art, Zhao Mengjian is deposed and retreated, and the artist's sensitivity is hurt by the times. Then draw spring grass to heal itself during the Spring Festival.
Chuncao remembers Wang Sun and looks at each other separately. In the southern Song Dynasty painting world, in addition to Liang Kai and Mi Fu, it is this Wang Sun Zhao Mengjian, who all have a common, pure artistic spirit, which is always vivid.
Spring Mountain:
Celebrate the festival as a fairy
Mi Fu's landscape paintings would laugh, and the Northern Song Dynasty people gave him an elegant name, called "Mi Yi".
It is not wrong to say that Mi Fu is "epileptic" in Hanmo, especially in Chinese landscapes. He "epileptic" the "distressed" lines in traditional Chinese painting, shakes the excitement of "drama", and walks into the creation of ink landscapes, which produces a wonderful comedic effect due to rendering, forming a maverick "epilepsy" of landscape painting. Mi Fu is willful, and it is still a bit "unreliable" to use common sense. As soon as he appeared in the clouds of the "Spring Mountain", the landscape of the Northern Song Dynasty shook meaningfully.
"Spring Mountain Ruisong Map", a small size, is hidden in the National Palace Museum in Taipei. In the lower left corner, there is the word "Mi Fu", which is said to have been added by posterity, and there is a Zhao inscription poem in the upper poetry pond: "Tianjun Ruimu", "to comfort my heart". But the theme of the painting is not the peaks and trees, but the clouds and peaks, the spring mountains.
The painting is full of humor and joy. He put the mountain head into the clouds, and then let our legs and feet stand in the same place in the world, raise the line of sight above our necks, let us not see the mountainside, the mountain legs and the foot of the mountain, nor see people, but see the small hills and small mountain bags in the steaming clouds, repeatedly rubbed with horizontal heavy ink, highlighting the shadows, looking not dignified and solemn, some loose and lazy, but childish and innocent, round and small, like Wang Xizhi's stupid goose, and like a fat fish jumping out of the water, it is the painter's mind jumping, side by side with the mountain, just to welcome the coming of the clouds.
Contrary to the consciousness of the protagonists of landscape painting in the past, the protagonists of landscape paintings have changed. In Mi Fu's pen, the cloud is the first, the mountain is second; the cloud is free, and the mountain is comfortable. Like him, Yun is also "rambling" in the sky, suddenly sitting on the top of the mountain, and suddenly hovering over the mountainside. Isolate pure from noise, separate the space with smoke clouds, and render the virtual and the dark to the fullest.
There are two peaks in the "Xiqiao Idle View", the peaks of which are sparsely grassed and trees, cut one-sided by the wind, and the clouds are confused, such as the chaotic people who have not opened the seven tricks of Zhuangzi, and like the untimely painter Buddha, they are planted in the mountains of Jing, Guan, Li, and Fan, competing with their pen power and breaking up the majesty of their arches. When the painter came out of the clouds again, there was no difference, round and indifferent, and the old man who was happy alone and happy, watching the light wind carry the light and carry the clouds, skimming over the mountain, after being stunned, everywhere was "epileptic".
He wants to follow the clouds, not to be ambitious, nor to go straight up to the clouds, but to follow the free state of the clouds and find a way to "rather be me". He doesn't care whether the road is on the mountain or in heaven, in short, fun is heaven. In this way, he took care of himself in ink for more than three years.
In the art of "I", he completely avoided the political and moral posture of the former scholars, and he liked the return of literature and art to literature and art, and the conversion of government to politics. He is also a politician, and although he is very grassroots for politics, he is very serious. He restarts the self with aesthetics and realizes the moral law of the self; he saves the self with aesthetics and realizes the free attributes of the self.
Mi Fu, a Wei and Jin person who lived in the Song Dynasty, "preferred to be me" like the Wei and Jin people, which was not only a principle, but also a way of life.
A hundred years after Mi Fu's death, Liang Kai continued the freehand spirit of Mi Fu's "Yi Pen Cursive" in his figure paintings, and completed the most difficult character painting ink portrait. Regarding the inner performance of human personalization, looking at the portrait style of Liang Kai's freehand, blank space, and crazy Zen figure paintings has indeed brought a great artistic turn to the character painting. "Splashing Ink Immortal" is a representative work of Liang Kai's freehand characters, which provides a shining clue for us to appreciate the character paintings of the Southern Song Dynasty.
From the zen temperament of the "Splash Ink Immortal", we have seen that the driving force of many of his "artistic acts" is the same as the source of Li Bai's "performance art", that is, their inner conflict. Art sprouts in their hearts the seeds of self-consciousness, and once the artist is stirred by self-consciousness, he will be like a caged bird or lion, bumping into the cage of the floating world, squandering the pain, and if lucky, if the inner "Dionysus" is still there, he will enter the realm of zen that only "I" is exalted.
Their greatest advantage is that they do not know how to face the convergence of royal power, and let the "barbaric" growth of self-consciousness grow until they break through the palace walls. As soon as he said goodbye, the nature of "I am a crazy person, Fengge laughs at Kong Qiu" began to run wild in the freedom of spending the New Year and being a new person. They are like the phoenix that is not a sycamore, singing in the morning sun, proud of those Confucians who are afraid of the dogs who have lost their families once they have not entered the system, and they are simply clear from those corrupt Confucians.
"Crazy Zen", in the crowd, is a rare character that grows up on the bottom line of personality set by the "spiritual self". Just like Li Bai and Liang Kai, once the "spiritual self" is oppressed externally, their personality bottom line cannot be ignored and immediately rebounds. As a result, it triggered the Chang'an incident in which Li Bai left the palace, and the Lin'an incident in which Liang Kai hung a gold belt. Nowadays, it seems that such a bottom line is too high a standard, and the common sense standard that we generally set between "plus and minus zero" is not at one altitude.
Therefore, "wild Zen" cannot be an example for others, nor is it universal, it can only express itself madly. To be so handsome during the Spring Festival, it is not worth the staggering of this festival.
Spring Festival:
Such as the long summer and the quiet of autumn
Song people's aesthetics, not blowing strong winds, not lightning thunderbolts, not either or, but inclusive, elegant, the bottom line lies in what can be aesthetically pleasing. All the surprises of life seem to start from the Spring Festival.
From spring to summer, the days are long, so the life should be as slow as summer, and the tormented spirit should be placed on the shore under the shade of the tree to blow a cool breeze, and in the greenery, a kind of expectation of autumn will arise, and then reincarnate.
Zhao Lingyong's "green philosophy" is full of such a cycle of surprises, and he is surprised to find an outlet for freedom of expression. These qualities are all presented in the "Lake Village Summer Map", and such green years are indeed incomparably quiet.
A pool of summer small scenery, lock the green mountain, do not change the coloring, multiply the intention, light dyeing green. As a result, the peach blossom source was formed in a small scene, the smoke clouds cut the heat, the wind passed through the lotus pond, and the grass hut was hidden. Since Tao Yuanming was discovered by his teacher Su Dongpo, Zhao Lingyong has cashed in the peach blossom source in his green mood. It not only impressed the teacher Su Dongpo, the classmate Huang Tingjian, and the teacher and friend Mi Fu, but also impressed the latecomer Dong Qichang. Dong Qichang said that he "brought his own morale" and "surpassed the dust".
It is said that the National Palace Museum in Taipei also has a painting of Zhao Lingyong's "Tao Qian Xiang JuTu", which has an inscription poem by the Southern Song Dynasty, which is very grounded and suitable, the so-called "three plants and five willows on the shore, a two fishing boats, a watery bird duck flying obliquely, and the fine grass and sand are happy." ”
It is said that the "Red Indigo White Goose Diagram" is the work of Song Huizong, with a silk color, a vertical shaft nearly one and a half meters high, an unnamed model, more than ten square seals such as "Xuanhe Dianbao" and "Qianlong Jianzang", which are now stored in the National Palace Museum in Taiwan, and whether it is the authentic handwriting of Zhao Tuo has always been controversial.
Those who agree with the authentic manuscript are probably out of recognition of the style of the work, and as for the inscription, it may have been cut off by the Southern Song Dynasty "Shaoxing Mounting". Because the Southern Song Dynasty people always believed that the Northern Song Dynasty died in the Song Huizong obsessed with the art of painting, so during the Shaoxing period, all the inscriptions related to the Song Huizong were cut down and re-framed as "Shaoxing Mounting".
And the work itself, the understanding of the quietness of autumn, will quietly activate people's self-contemplation. On the screen, only a red indigo, a white goose, and a half-exposed and half-hidden old tree root are self-conscious confessions, declaring that in the colorful and noisy autumn colors, only the silent loneliness has self-awareness.
The white goose lies peacefully, with a curved neck and a bowed head, a leisurely posture, wings like a fish scale and white clouds, slender but never succumbing to any visual pickiness. It is not like the goose of the Jin people who are accustomed to heavenly release, nor is it like the goose of the Tang Dynasty who often "sings to the heavens", it looks indifferent, or arches, and has a spiritual posture of self-confirmation. A red tree, herb delicate, but bent and stood tall and proud. The painter likes the independence of the red indigo, does not hug the wind, sways alone, that is the inner cosmic field, in the face of nature, man is humble and small, but man gets a destined lonely revelation from it.
The red indigo flowers are hanging, suggesting the protection of fate, and three or five red indigo flowers, with the willpower to stabilize the space of the picture, look forward to the white geese that snuggle up to them. Each red leaf carries a restless expectation of freedom, and the quiet of the white goose affirms that freedom does not sway with the wind, but lies in stubbornness. The white goose is leisurely and noble, the red indigo is independent and cold in autumn, autumn is about to be ended by winter, and a white life should wait for the arrival of fate at such a moment. Can it bring good fortune in the New Year?
Flower and bird painting seems to best reflect the light of the Mandate of Heaven, because among all things, there is nothing more able to borrow the light of the sun than the flower, more than the flower period to show the poetic impermanence, the flower and bird is the representative of the weather, the time of day, the destiny. Taking a natural aesthetic image as a symbol of auspiciousness is a blessing of art.
A festival of seeking riches with flowers and birds
The paradigm and style of flower and bird painting in the Song Dynasty were determined by Huang Quan, a court painter at the Later Shu Royal Painting Academy. "Sketching Rare Birds" is the only painting left by Huang Xiao, it is said that this picture was used by Huang Xiao for his son's painting practice, and it turned out to be a sketching exercise book. Just one bird and insect painting sheet for teaching materials is enough to establish his status as a grandmaster in the history of Chinese flower and bird painting.
Because it is a drawing, it does not pay attention to the overall layout structure, there is no involvement in time and space relations, but it makes the picture free and relaxed, and every living body has been presented in an ideal state on the screen. Between, cranes and doves, the painter interspersed various small insects, grasshoppers, bees, morning glory, etc., creating a space for insect birds to breathe. The bird has won the magnificent posture of space by standing still; the insect has groaned and dialyzed out the leisure that time should be. Especially the old turtle in the lower right corner, followed by a small turtle, the angle of appreciation is very comfortable, from the overlook of about 45 degrees oblique angle, the perspective relationship of the old turtle gives visual accuracy, two turtles, one big and one small, before and after, the painting language is childish, it is the author's talent cathartic pen and ink measure, although it is a sample, it is not dull and boring, showing the painter's extraordinary formal ability.
Sketching Rare Birds
Birds, insects, turtles, after all, are a bunch of materials, whether they can become spiritual works that affect people through the author's creation, including the author's own spiritual pleasure experience, ultimately depends on the creator's skills and realm, both are indispensable, and the yellow basket is ready.
When he moved the material to the paper, his impulse to pass on the mental method to his son was hidden in the outline and color of each stroke, and he lightly sketched with strong colors, but the rich color reached the ideal extreme.
Shen Kuo said in "Mengxi Pen Talk" that Huang Xiao's flower and bird paintings can be described as "sketching", and "sketching" is to draw out the breath of life, write out the "vivid rhyme", and write the inner temperament of life.
Huang Xiao "sketched" and wrote the "rich" weather of flowers and birds, self-sufficiency and nature. The Northern Song Dynasty painting critic Guo Ruoxuan first proposed "HuangJia Fugui" in the "Picture Seeing and Hearing Zhi", and since then, the flower and bird paintings in the Huangjia Garden, whether praised or denied, have been fixed as a rich and noble style.
On wealth and wealth in things, there is nothing more vulgar than gold and silver, no more elegant than flowers and birds; on wealth and wealth in previous dynasties, which dynasty's rich and noble weather can be better than that of the Han and Tang Dynasties? On the rich and noble to the traditional style, poetry thin and fattening, which style is more rich than the endowment? In particular, Han Fu is the great endowment in the endowment, and the birthplace of flower and bird painting is in the hometown of Han Fu, and the rich and noble atmosphere of Huang Quan's colored flowers and birds is returned to the Han Fu ranking from the Tang poetry wind and flowers, which can be called the big endowment in the flowers and birds, which is really the Huang family system Han Fu wind, and "rich" is grown from this tradition.
Later Shu was destroyed by the Northern Song Dynasty, leaving behind in addition to the "Huang Family System" of flower and bird paintings, there is also a "Poem on the Fall of the Country", whether the Lady Huarui who wrote this poem was The Former Shu Huarui Lady Xu Concubine, or the Later Shu Flower Rui Lady Fei Concubine, although quite controversial, but whether the Former Shu died or the Later Shu Dynasty, it all presented the unbridled aesthetic temperament of the Shu people. Even if the country is destroyed, it will die as magnificent as Han Fu, and the pathos are like a platoon that covers the ground, oppressing to the deep palace, And Lady Huarui rushes out: "The flag is lowered on the king's city, and the concubines learn about it in the deep palace." 140,000 people were disarmed, and none of them were men. What she regretted was not the subjugation of the country, but the regret that there were no boys in Shu, and that the country would die if she did not go all out like Han Fu to lay out the scene of the War of Resistance.
But the pursuit of humanity's "wealth" cannot be destroyed, and it becomes a heavenly expectation in the Spring Festival of each year, in the "blessing" of people who have been busy for a year. Praying for blessings and auspicious flowers and birds, the Spring Festival, is such a festival for seeking wealth and nobility.
(The author is close to "Cultural Rivers and Mountains", volumes 1-7, CITIC Publishing House)
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