Matsukaze is born in the Matsukaze Pavilion
―Tan Changde and his Art of Nanyue Landscape Painting
Wen 丨 forest trees
A few years ago, I went to Hengshan several times and was deeply impressed by Nanyue Hengshan. Four of the five mountains are in the north, and only the southern Yue Heng Mountain is in the south. The northern landscape is rocky and rugged, and the vegetation is relatively sparse, so it is a painting of landscape paintings, and there are many majestic and magnificent shores. Hengshan is located in the lush Hunan, with more than 1,300 meters rising from the plain, which can be described as both majestic and beautiful. Ancient Chinese landscape painting is to distinguish the landscape painting school by painting rocks, which is related to the early landscape paintings that paint northern landscapes, and the mountains in the north are more stones, and the trees are just embellished. It was not until the southern landscape painters Dong Yuan and Ju Ran appeared, they all expressed the southern landscape, expressed the soil slope with a hemp, and expressed the grass and trees with the idea, which led to the southern landscape painting school. After the Song and Yuan dynasties, the landscape painting school was in the south, and it was only in the south that styles such as plain and naïve, gentle and beautiful, developed in the south. It can be seen that the Southern Landscape Painting School was directly developed by relying on the famous mountains and rivers in the south. From this point of view, Tan Changde Zhong Shan Chuan Yu Xiu, who was born under the Heng Mountain, gathers the origin of humanities, and paints his own differences with people.
Nanyue Qiuji 68cm×138cm
Sanskrit 68cm×68cm
The southern landscape, its strengths are not only in the mountain and mountain shape, a major feature of the southern landscape is in the tree. One of the bright spots in Tan Changde's landscape paintings is in the tree, and in the pine, the pine tree he paints is quite exquisite. You look closely at his painting of pine trees, every trunk, every branch, with the pen is suddenly broken, or long or short, straight or curved, or real or virtual, or thick or light, the pen and brush are different, thus constituting the pen and ink fine to the ink painting pine. Dong Qichang, a leader in the painting circle of the Ming Dynasty, said that when painting trees, the trunk should be turned by the pen, which means that painting the trunk cannot be simple, and every section of the trunk and every branch of the trunk branch requires changes with the pen. As long as we look at Changde's paintings, we know that he understands Dong Qichang's reasoning. The pine trees in Changde's pen not only have changes in pen and ink, but also have a variety of forms of pine: either stretching or stretching, or weir or lying down, or dense or sparse, or positive or oblique, or several pines are gathered together, or lone pines are independent, or obliquely moving, or lying still; the pines in pieces, the branches are interspersed, the virtual reality is reflected, and the pines in the painting are extremely stated and have their own characteristics. I have been to the old house of Changde under Hengshan Mountain, where the giant pines are hidden, the pine waves are fluttering, and it is a good place to live in the pine wind under the forest! Tan Changde likes to draw pines, longer than painting pines, and cover is because of this. The national landscape painters who were born in the pine wind under the ancient pine and grew up painting pines such as Tan Changde may be the only ones. Changde and Matsu have such a relationship, it is no wonder that his name is Songfeng Pavilion. Matsukaze's main painting Matsumoto is indeed longer than others. Changde grew up in the pine forest under Hengshan Mountain, and after learning to paint, he has been in Hengshan for many years, sketching under the pine forest for many years, and the pine trees in his pen are naturally flexible and changeable, which is naturally very different from the painter who seeks the concept of life in the painting. No wonder Changde paints nanyue landscapes, no mountains and no pines, no water and no pines, no paintings and no pines. And I also noticed that most of his paintings of Songdo were excellent works. Such as 2019's "Green Water and Green Mountains Good People's Home", 2019's "Pine Valley", "Nanyue Grinding Mirror Platform Sketch", "Nanyue Throwing Bowl Peak Sketch", 2016's "Nanyue Rufei" and so on. I also think that if Changde continues to give full play to his advantages over painting pines, and paints landscape paintings such as Yuan Ren Wang Meng's "Lin Quan Qing Ji Tu Scroll" and "Taibai Mountain Picture Scroll", he will be able to give full play to his strengths and be unique in today's landscape painting world.
Nanshan Golden Autumn Smoke Tree Jing 34cm×68cm
Nanyue Water Curtain Cave 68cm × 68cm
The name of Changdezhai is Songfeng Pavilion, Songfeng, Songtao, all related to movement. In Changde's landscape paintings, it is indeed a cloud flying waterfall and a loose wave. It can be said that in his landscape paintings, there is hardly a painting that is not a pine wind, a mountain stream, a spring and waterfall splashing, and a cloud away from the fog. In order to strengthen this momentum, Changde's landscape paintings sometimes take oblique potential to cope with the momentum. In the painting "Nanyue under the Heavens", the entire Nanyue Mountain Range takes the trend of galloping and walking obliquely from the bottom right to the upper left, and the pine trees in the painting also tilt along the trend, coupled with the rushing clouds and mist of the mountains, a good Hengshan In motion. I can't help but think of the verse in Li Bai's "Sleepwalking in Heaven and Leaving Farewell", "The Yue people speak Heavenly Grandmother, and the clouds and xia are clear or can be seen." Heaven and heaven stretched out to the sky, and the Five Peaks covered the Red City. The roof is forty-eight thousand feet high, and it is tilted to the southeast." You see that "the clouds are clearly extinguished" and the mountains are "even the sky is horizontal to the sky", especially the "want to fall to the southeast", is it not the image of Changde's "The South Ridge of the World" pouring the mountains and the sea! Among Changde's excellent works, there is simply a work, directly named "Nanyue Rufei". In Changde's works, Nanyue Hengshan is already a flying immortal mountain. Of course, there are clouds and water flying here, streams and waterfalls flowing straight out, in such a dynamic deep mountain, the pine trees full of mountains, it seems to be pine waves, pine winds full of ears. You just look at the title of "Wind Blows Between The Night and the Rain" and you know how Changde is chasing this dynamic of clouds, water, pine and wind in Nanyue Hengshan. As for 2018's "Ten Thousand Valleys and Streams", in this originally quiet mountain, ushering in the rapid turbulence of the mountains and streams at the confluence of the streams and waterfalls after the mountain rain, it should be the roar of the rushing water in the mountains! "Fog Rises from the South Mountain Stream" can only be realized in the deep mountains to understand the meaning of such clouds and mountains and pine streams. This kind of Songfeng Creek Waterfall, the cloud and mist are indeed the common Nanyue realm in Changde's pen. 2018's "Nantai Qingdao" and "Qingliu Rapids" are also such realms. Perhaps because of the strengthening of Hengyue's sense of movement, Changde likes and pursues the dynamic style of Lu Yu.D. Those interspersed clouds and waters, those curved and trembling strokes, and the tilting mountain trend, there is a place to learn from Lu's painting style. For example, the sloping mountain in "Qingshan Jicui", "Nanshan Qingyun", and "Stop Looking at Autumn Ji", the light ochre color ink, the trembling pen, and the large ink spots, all have traces of Lu's influence, but the dense structure, the mountains full of pines, and the leisurely artistic conception are obviously different from Lu Yu's few and changde landscapes.
Nanshan 1st Row Autumn 34cm × 138cm
Nanyue Smoke Cloud 68cm × 138cm
This reminds me of a very valuable feature of Changde landscape painting, that is, the creation of artistic conception. Changde's landscape painting is very different from the supremacy of brush and ink in today's landscape painting world, and the purpose of his landscape painting is not to focus on pen and ink, but to create an artistic conception and create a realm that can be lived and traveled. Although the Three Mountains and Five Mountains have many humanistic colors, hengshan has a particularly strong humanistic color, known as the "civilized Olympic area", there is a nanyue temple shared by Buddhism and Taoism at the bottom of the mountain, there is a "Jiang Song official residence" of the "first supreme military conference of the Republic of China" during the War of Resistance Against Japanese Aggression, there is a Vulcan Zhurong Temple on the top of the mountain, the ruins of various cultural celebrities of all dynasties, and countless academies, hengshan is indeed a veritable humanistic mountain. As a painter born and raised under Hengshan Mountain, Tan Changde painted Nanyue Hengshan, and his feelings were naturally different from those of ordinary painters. Although Changde does not directly depict these famous humanistic scenes of Hengshan in his paintings, his landscape paintings pay more attention to creating a poetic realm and a poetic inhabitation scene that can be lived and traveled to implicitly echo the humanistic interests of Hengyue. In the Nanyue landscape of Changde, of course, there are Buddhist temples and Taoist temples, Sanskrit twilight bells, academy shrines, small bridges and flowing water, bamboo hedges, and some paintings also have many modern houses and even asphalt roads leading to deep mountains. The proportion of these houses and temples in Changde in landscape painting is often higher than that of ordinary landscape painting point view houses, and the depiction is often larger, clearer, and even more prominent, Changde is obviously expressing the cute and amiable place that Can live and swim in Nanyue Hengshan. You see, the prominent villages of "Green Water and Green Mountains and Good People's Homes", the asphalt roads that are difficult to appear in ink landscape paintings, want to highlight the theme of "Green Water and Green Mountains Good People's Homes". The mansion of "Nanshan Hermitage" is even more hidden in the depths of the dense pine forest. That is a portrayal of the old mansion in Changde's hometown, right? In Changde's Nanyue landscape paintings, the towering peaks, the winding paths, the babbling streams, especially the pine forests full of mountains, the quaint temples under the pine forests, and those simple houses, everywhere present a picture of the peaceful and elegant Hengyue artistic conception of the pine breeze under the forest. Changde has a long title cloud in "Clouds Around Nanyue": "The scenery is the most Zhu Rong peak, and the four Gu Qun peaks receive Chu Tian." There is no other way to ask the question, and there is a clear source for studying the scriptures and governing the study. The Huxiang learning vein belongs to Hengyue, and the ancient Wenxin is in the Buddha Immortal. Spend seven days in the middle of the mountain, and dream through a thousand years with fate." Nanyue Hengshan aroused the strong pride in Changde's heart, and that passionate love, which can be described as overflowing with words. The love of Changde Landscape for Hengyue is very different from today's fashion in the painting world that borrows landscapes to convey the way of brush and ink. The Song Dynasty Guo Xi's "Lin Quan Gao Zhi" said, "The theory of the world is that there are feasible people in landscapes, there are people who can hope, there are people who can swim, there are people who can live, and every painting that reaches this point is into the wonderful product... The reason why gentlemen covet Lin Quan is precisely because of this good place. Therefore, the painter should create it with this intention, and the connoisseur should mean it with this intention. This is true of its original intent. ”
Xiangshui Qiuyi 34cm×138cm
Ichiba Zhiqiu 68cm×138cm
Changde landscape can be lived and traveled, Hengyue pine wind is quiet and elegant, Changde landscape does not lose the original meaning of traditional landscape, quite the spirit of Chinese landscape, is the help of heaven and place!
Author Affilications:Sichuan University