2022009
A state
Taoyuan and wonderland, the world yearns for and is difficult to reach.
Since the Eastern Jin Dynasty Tao Qian wrote the words "When the forest exhausts the water source, it will get a mountain, and the mountain has a small mouth, as if there is light", Taoyuan has become another name for hiding and hiding. Xu Ling of the Southern Dynasty also wrote: Taoyuan was shocked by the guests, and the qiáo (he) cut off the guests. There are storms and clouds, and there are no laymen in depression. Crane Is the peak of the crane where the crane rests, and at this point, Taoyuan has a little more contact with the fairyland, and the sense of ease occasionally floats out.
Taoyuan Wonderland Map Ming Dynasty Qiu Ying
Qiu Ying of the Ming Dynasty painted all his life and never hid himself.
In more than 50 years of his life, he has painted more than 10 long scrolls and countless vertical scroll paintings, leaving no time to find a paradise. He simply settled himself in paper silk and meditated in the drawings to hide.
The green landscape "Taoyuan Wonderland Map" is a typical Qiu Ying brushwork, its painting method is neat, and the colors are bright and deep. He used the panoramic composition of the mountains and rivers in the early years of the Song Dynasty, based on the "Peach Blossom Origin", to depict the ideal retreat of the people of the time:
Three coats, sitting by the stream, one playing the violin, two intoxicated; they were dressed in white, and the turquoise of the picture formed a strong contrast that was not abrupt, and it was precisely because of this contrast that the leisurely and quiet of the coats came into being.
Coats
Gao Shi found a Taoyuan Wonderland and did leisure things, which was natural, but this was a little less pyrotechnic after all, far away from the life of the city, perhaps not Qiu Ying's Taoyuan Wonderland.
Hidden in the "Taoyuan Wonderland Map", there are other people. In the pavilion at the top, another man appeared: he was a living person, with ordinary human emotions, and he quietly watched the water and looked at the clouds to dive into the depression of his heart. Compared with the white-clad coats who listen to the music and taste tea, the hermit between the clouds and waters is more like the people in Taoyuan. It can also be said that the Gaoshi in the foreground is the scene of the inner projection of the hermit and Qiu Ying, who are hidden in the city and are at ease in the city.
Water watching
The hidden of the ancients, from the heart, the collection of the ancients, can be calmly out.
Tang Yin, who is known as the "Ming Four Families" with Qiu Ying, once made "Chaimen Cover the Snow Map", which has a more hidden meaning - in the cold winter, the sky is overcast, the snow covers the mountains, a vast expanse, and the painting removes a little scenery with weak vitality, as if everything in the world is covered.
Chaimen covered snow figure Ming Dynasty Tang Yin
Towering snow-capped mountains, steep and majestic, occupying most of the picture. In the mountains after the snow, it is very quiet, and on the mountainside, the spring water is rolled down several times by the water wheel, and the noise can be heard in the distance.
At the foot of the mountain, there are several huts, and the restaurant is hung outside the liquor hoop, swinging in the wind. The Warring States work "Han Feizi" contains: The Song people had wine sellers... The suspension is very high. Banner, that is, wine banner, also called wine flag. After the Tang Dynasty, it became more common for shops to hang out liquor, and they were varied and colorful.
However, the restaurant in "Chaimen Cover the Snow Map" has a cold business after heavy snowfall, and there is no one here, presumably, pedestrians have already set out on the road in advance and returned home for reunion.
restaurant
At the corner, there were still pedestrians, and he resisted the bucket and slowly advanced in the strong wind blowing into the mountain pass. Another pedestrian, or a hermit, resting alone in the canopy, was enjoying a pot of warm wine or watching the snow, and everything seemed more and more quiet and peaceful.
After the painting, Tang Yin inscribed: ChaiMen is deeply hidden in the snow, and the stove of gǔ duò is boiled with wine. The most is the poet's stable place, a compilation of words and a furnace of incense. Tang Yin's life was bumpy, and in his later years, he lived in Taohua'an to write and paint, and the inadvertent scenes and poems in the pictures revealed where he was pursuing- the aroma of wine, words and incense burners, which may be his hiding place.
People in a boat
In every era, there are "out of place" people who try to hide themselves, and you and I have been like this. In this regard, Ni Zhan of the Yuan Dynasty also had a unique understanding. He never lived his life, was high and arrogant, and did not yield to power. His paintings, too—
Ni Zhan often composes in three sections, with distant mountains at the far end, lakes in the middle, and mounds and stone trees in the near distance. These paintings, with their neat pictures and just right, seem to add more to make the picture no longer perfect. His paintings, empty, often contain symbolic meanings, such as the "Six Gentlemen's Diagram", the whole painting does not see the gentleman, the six trees nearby, that is, the six gentlemen in the title. Another example is "Rong Knee Zhai Tu", there is no Rong Knee Zhai in the painting, and some are still cold landscapes and extraordinary state of mind.
"Six Gentlemen's Diagram" and "Rong Knee Zhai Diagram" Yuan Dynasty Ni Zhan
Ni Zhan stripped away all the elements that could be stripped away, and directly expressed emotions with things in nature, so we looked at the painting and saw Ni Zhan himself. He probably hoped that later generations would look at these landscapes with a detached mentality, and even enter the scenery, like immortals.
However, Ni Zhan is not the only one who shows a sense of turbulence. Compared with Wu Zhen's dashing po, Ni Zhan's family situation has changed greatly, and its po is mixed with a hint of desolation and restraint. Compared with his early completion of the "Qiulin Yexing Map", we will better understand the hidden and hidden: at this time, there are still people in the picture, and with the passage of time, the figurative people withdraw from the picture, and we can only see the hidden Ni Zhan.
"Qiulin Yexingtu" part of the Yuan Dynasty Ni Zhan
Ni Zhan's concealment or hiding is obviously not in daily life, but on the spiritual level.
In the Yuan Dynasty, someone once asked Ni Zhan why there was no one in the painting, and Ni Zhan replied: There is no one in the world. In his paintings, there is indeed no one, but every brushstroke, every scene, there is an abstract other, they are even more concrete than the figurative Coat, and at the same time they constitute a concrete Ni Zhan.
After reading a few paintings, we still yearn for hidden or hidden, whether it is the collection of Qiu Ying, the collection of Tang Yin, or the collection of Ni Zhan. Perhaps, only by hiding in the heart can we come to the open.
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