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From water to ink, to a painting
Ink Danqing, painting Huaxia
The "Huaxia Danqing" series, specially invited by mr. Yang Bing, a famous scholar, uses professional and vivid narration and exquisite pictures to lead readers into the process of creating brilliant Danqing by the Chinese nation, and appreciates the beautiful picture scroll that moves people's heartstrings and people and sighs together.
Luo Qiying Chunhui - Zhang Xuan's "Lady Yu Chuntu" tasting
Zhang Xuan, date of birth and death unknown, a native of Jingzhao (present-day Xi'an, Shaanxi), was an outstanding female figure painter during the Kaiyuan and Tianbao periods of the Tang Dynasty. In the eleventh year of The Reign of Emperor Xuanzong of Tang (723), he served as a painter of the Shiguan Painting Institute (equivalent to the painter of today's National Academy of Painting). As a court painter, Zhang Xuan was familiar with court life and often drew on orders. This provided the conditions for him to specialize in paintings on noble women and kurama subjects. The works that have survived to this day are "Lady Yu Chun Tu" and "Trick Painting".
In the form of a long scroll, the "Lady Yu Chun Tu" depicts a scene of a certain Spring Lady yu guo and her dependents traveling in the eleventh year of Tianbao (752). Lady Yang of the Yu Kingdom was a native of Yongle, Puzhou (蒲州, in modern Ruicheng County, Shanxi) in the Tang Dynasty. After Yang Guifei was favored by Tang Xuanzong, his eldest sister Lady Han, his third sister Lady Yuguo, and his eighth sister Lady Qin Guo entered Beijing with guifei, and Tang Xuanzong called Yang Guifei's three sisters as aunts, and he was very favored.
"Lady Yu Chun Tu" takes Lady Yu Guo as the core and unfolds with "You Chun" as the plot. In addition to the horses and characters, the whole picture does not have any environmental background, so why is it "you spring"? Zhang Xuan used horses to take small steps, and the servants slightly raised the horse whip to express the state of "swimming"; and the four masters dressed in royal clothes, coiled with horses and buns, Lady Yu Guo was wearing men's clothing (men's clothing was the most popular style of dress in the court at that time), and gorgeous saddle decorations to express the existence of "spring". The arrangement of the characters in the work, according to the relationship between master and servant, is arranged in a straight line, gathered and scattered, followed by Gu Pan, and the structure is full of changes. The color distribution is extremely exquisite, red is the most used color in the whole map, not only reflects the "spring meaning", expresses the joy of playing, but also plays a role in distinguishing the master and servant, in the combination of characters, reasonable interspersed use. The third person from the right basically occupies the middle position of the picture, and its mount adopts a thick blue-black color, which not only cleverly isolates the lady of the front and the characters behind, but also plays a role in stabilizing the picture, which can be described as ingenuity. In terms of image portrayal, the painter uses fine and even and vigorous lines to depict the horse's mane and horsetail, and expresses the clothing characteristics of different characters accurately and subtly, such as the light and elegant men's clothing worn by Lady Yu Guo, the red and cumbersome dress of Lady Han and Lady Qin Guo; in terms of the capture of the demeanor of the characters, according to the different identities of each character, through the portrayal of the eyes, the relationship between the master and the subordinate and the master and the servant is clearly presented, such as the eyes of Lady Yu Guo, who is at the front of the queue, has a firm look, does not squint, and has a kind of arrogance of giving up on me The Korean lady looked back at Gu Pan and thought about it; Lady Qin Guo looked solemn. It can be seen that Zhang Xuan's intentions in this work are unique.
In the history of human art, all the shocking works not only have extremely high artistic attainments, but also are a reproduction of a period of history. "Lady Yu Chuntu" presents not only a true portrayal of court life in the prosperous Tang Dynasty, but also the result of the power struggle in the court struggle. Zhang Xuan's talent in the painting of female figures in the court opened up a new trend of Tang Dynasty female figure paintings "Emei Feng Muscle" and "Qiluo Fiber", which is a permanent record of the social situation in a specific historical period.
Speaker: Yang Bing
Yang Bing was born in Xi'an in April 1969. He graduated from the Attached High School of Xi'an Academy of Fine Arts in 1989. In 1993, he graduated from the Chinese Painting Department of Xi'an Academy of Fine Arts with a bachelor's degree in art. He is currently an associate researcher at the Forest of Steles Museum in Xi'an, a calligrapher at the Calligraphy Research Center, an expert in exhibition planning and display design at the Shaanxi Provincial Museum, a co-tutor for postgraduate students at the Xi'an Academy of Fine Arts, and a visiting scholar at the "The University of The Arts" in Philadelphia, USA (2016). He is mainly engaged in the theoretical research of ancient Chinese art history, contemporary art criticism and practical activities of artistic creation.
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