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Sui Zhan Zi Pious You Chun Tu Tang Dynasty Facsimile
Admire landscape paintings
Not to see the view
Chinese landscape painting is an important carrier of Chinese art and an important part of Chinese culture.
The word "landscape" in landscape painting is by no means a simple concept of landscape, it contains many meanings and symbols of Chinese culture. For example, the mountain is yang, the water is yin, symbolizing the complementarity of yin and yang; the mountain is rigid, the water is soft, reflecting the combination of rigidity and softness; the mountain is real, the water is virtual, representing the concept of virtual reality in Chinese culture.
However, landscape painting was not given such a deep meaning at the beginning of its birth. The original landscape paintings were just the background of the characters. The most typical is Gu Kaizhi's famous work "Roselle Futu". This is a figure-based work, the landscape and water are only the background of the characters or as a transformation of the scene, and in this painting, the proportions of landscape paintings are not very coordinated, which can be described as "people are greater than mountains, and water cannot be panned".
Roselle part
It was not until the Sui and Tang dynasties that landscape painting gradually became an independent kind of painting. The independence of landscape painting was mainly influenced by the maturity and development of landscape poetry during the Southern and Northern Dynasties of the Wei and Jin Dynasties. The famous landscape poets Tao Yuanming, Xie Lingyun, Wang Wei, etc., lived in seclusion in the mountains and forests to feel nature, lived a free and secluded life, and left many poems describing the countryside and landscapes, which is an important driving force for the independence and development of landscape painting.
Tang Li Sixun Jiang Fan Pavilion Diagram
Tang Li Zhaodao Ming Emperor Xing Shu Tu
Landscape painting in the Two Song Dynasties reached the peak of art, and the pen and ink method has become mature and complete, and the painter can use pen and ink to subtly express natural phenomena. However, at this time, the painter painted mainly to express objective nature, and depicted the real existence of the scene through superb skills.
Five generations later Liang Guan Tong Guan Shan travel map
In the Northern Song Dynasty, in addition to the existence of a considerable number of professional painters in the court and in the folk, there was also a team of amateur painters who existed among the literati with certain status and official positions. Although they did not take this as their profession, they had significant characteristics and outstanding achievements in the creative practice and conceptual discussion of painting, and they were self-contained, which was called "scholar painting" at that time and later called "literati painting".
Literati painting arose in the early Northern Song Dynasty, Su Shi first mentioned the concept of "literati painting", the main feature of which is to advocate the subjective taste of the lyricist as the purpose: to take flowers, birds and bamboo stones, water and smoke clouds, borrow material allegory, avoid reality, in the creation method is not bound by the program, in the art form emphasizes the combination of poetry, books, paintings, printing, etc. The rise of literati painting promoted the development of Chinese landscape painting. In the field of landscape painting, this style of painting became the dominant figure in the painting world after the Song Dynasty through the artistic pursuit and practice of the "Yuan Sijia".
Part of Huang Gongwang's "Fuchun Mountain Residence Map"
The turning point occurred in the Yuan Dynasty, and painters no longer painted landscapes to objectively express nature and reproduce nature, but gradually transformed into subjective expression of their own state of mind. Huang Gongwang, a great painter of the Yuan Dynasty, spent four years painting "Fuchun Mountain Jutu", and during these four years, he painted and stopped, intermittently, constantly thinking and exploring. This painting records his confusion and confusion, the ups and downs of his spiritual world. In four years, he realized a little, added a little, he drew his own ideals in life, painted a change of mentality and a sense of art.
In terms of technique, painters represented by Zhao Mengfu began to apply calligraphy with brushes to painting. Zhao Mengfu inscribed in the "Xiushi Shulin Tu": "Stone is like flying white wood is like a basket, writing bamboo is also connected with the eight laws, if there are people who can do this, Fang knows that calligraphy and painting are the same." He advocated an emphasis on written lines in painting. Since then, books and paintings have become one.
Zhao Mengfu's "Xiushi Shulin Diagram"
After the Ming and Qing dynasties, the development of landscape painting was mostly promoted by the change of pen and ink, and the connotation of pen and ink was also increasing, and gradually, the word pen and ink became synonymous with Chinese painting.
Cheng Huai tastes like
Eliminate distractions and anxieties
In today's fast pace of life and the continuous fragmentation of time, if you want to taste the author's state of mind through the landscapes and rivers in the painting and taste the true meaning of it, the premise is to be quiet. You may wish to learn from some of the ancients' methods of appreciating paintings.
The "Preface to Painting Landscapes" written by Zong Bing, a famous painter during the Southern and Northern Dynasties of the Wei and Jin Dynasties, can be called the earliest theory of landscape painting in the mainland.
Zong Bing proposed: "The saint contains the Tao, and the sage Cheng cherishes the image." "Cheng Huai Taste Elephant" is to wash the dust in the heart, eliminate distractions and anxiety, only a clear state of mind can taste the natural "elephant", feel the freshness and liveliness of nature in the painting.
"You should feel the gods" - the process of appreciating landscape painting is the process of mutual communication and echo between man and nature. For the artist, the dialogue with nature is an eternal subject, and in the exchange of information, when inspiration comes, the work of art has infinite vitality.
"Divine bliss" – meaning that one attains great spiritual pleasure and satisfaction in nature or when admiring the landscape.
Northern Song Dynasty Guo Xi Early Spring Figure Silk Book
I can't read pen and ink
Because you don't know brushes
Calm down, just appreciate the premise of landscape painting, to really get started, but also to master some doorways.
When you appreciate Chinese landscape painting, you actually appreciate the beauty of brush and ink in the process of procedural interpretation. As the Ming Dynasty calligrapher and painter Dong Qichang said when talking about pen and ink and natural landscapes: "With the strange theory of strange paths, painting is not as good as landscape, and with the subtlety of pen and ink, landscapes are by no means as picturesque."
The subtlety of art is often closely related to the tool material, to understand the beauty of pen and ink, we must first understand the tool of pen and ink - brush, understand the use of brush mystery, help to perceive the subtlety of Chinese painting.
"Why do most people today feel that they can't understand Chinese painting, because modern society no longer uses brushes, not even hard pens, we use our fingers to gently click and slide on the screen to accept and transmit information, the alienation of brushes naturally causes the inability to feel the subtlety of pen and ink, which also creates a gap in the appreciation of Chinese paintings." Shao Weijiong said. Chinese brushes are many different from Western oil brushes, the brush is conical, with a nib, a pen belly, and a pen root, while the oil brush is somewhat similar to a flat brush, which technically determines that the techniques used in these two arts are completely different.
Ma Yuan Hua Lantern to be feasted on the National Palace In Taipei
Ma Yuan Landscape Drawings Collection of the British Museum
The pen and ink contain many techniques of Chinese landscape painting. The first is the basic techniques of hooking, rubbing, rubbing, dotting, dyeing and so on. In addition, the techniques of using ink, water and color also include: ink accumulation, ink splashing, ink breaking, sprinkling, and expansion. The techniques of coloring are light, green, and golden. From the perspective of drawing method, it can also divide the pen, pen, boneless and so on. With a basic understanding of these techniques, when admiring landscape painting, it is no longer a layman's way to watch the doorway.
Pen and ink will leave different traces on the paper silk, such as points, lines, surfaces, these pen and ink traces have different changes: thickness, size, length, thickness, dry and wet and so on. A good work is actually a reasonable and excellent combination of different pen and ink forms to produce a beautiful work.
Ma Yuan Water Map Roll Cave Court Wind Thin
To appreciate the brush and ink of Chinese painting, it is also necessary to focus on it from an aesthetic point of view, aesthetics have many aspects, Shao Shujiong summarized it as the beauty of objects, ink and brush, artistic, and personality. The beauty of objects is easy to understand, that is, the beauty of visual perception such as the form of objects, light and color that stand in front of nature. The beauty of pen and ink reflects the difference between elegance and customs, that is, "clear, heavy, moist, and harmonious", "flat, retained, round, and heavy". The common saying is "slippery, light, flat, strange, turbid, dry". The beauty of brush and ink and personality in Chinese painting echo each other. Chinese like to praise people with words such as leiluo, zhongzheng, elegant, and simple, in fact, these words can also be used to understand pen and ink and judge the merits of calligraphy and painting. The ancients often said: painting like its person, words like its people, this is the truth.
Mi Youren Guo Shenggui Fish Chart Vertical Axis
The formula of Chinese painting is like that of a painter
"Hand-Eye-Body Step"
Fans of the play know that when watching a play, it is the "hands, eyes, bodies, laws, and steps" of the horns, that is, the beauty of the program, and different characters can perform their own styles even if they play the same play and the same program. The same is true for appreciating landscape painting, the program of landscape painting is the artist's artistic symbols and language through comprehensive observation of nature, in-depth thinking, and continuous summarization and refinement. The pen has a penmanship, ink has an ink method, the composition of the picture, the use of lines, the creation of images, the configuration of colors and even the use of seals have a certain program. With the program, the painter has a cognitive structure of nature.
The formula of Chinese landscape painting mainly includes the stone method, the tree method, the Yunshui method, and the chapter method.
Taking the Zhenfa method as an example, the Zhenfa method is one of the expressive techniques of Chinese painting, which is a performance program created by ancient painters in artistic practice according to the different geological structures of various mountain stones and the state of tree skin. The main methods are phimmer, raindrop, cirrus, large axe splitting, small axe splitting and so on.
The five generations of painter Dong Yuan is good at using the phimped to express the softer soil and stones in the south, the most famous of which is his "Xiaoxiang Tu". Li Tang and Ma Yuan's large and small axe cleavers are good at expressing the clarity of the mountain stone surface and the hardness of the stone.
Southern Tang Dynasty Dong Yuan's "Xiaoxiang Picture Scroll"
A basic understanding of the origin, application, and variation of these programs helps to better appreciate landscape painting. "Landscape painting accounts for the heaviest proportion of the three major disciplines of Chinese painting, landscape, flowers and birds, and the subject matter content, expression techniques, and formal styles are also the richest and most complex, and understanding the appreciation methods of landscape painting and mastering the basic techniques will be of great benefit to learning and appreciating other disciplines of Chinese painting and even other forms of Chinese art." Shao Weijiong said.
Wang Ximeng Thousand Mile River Map
Why landscape painting
Not called landscape painting
We know that in the long process of development, Chinese landscape painting has formed a unique style and aesthetic taste and a complete theoretical system. The same is true of landscape painting, which occupies an important position in the Western painting world. These two art forms that express the same object but use different expressive techniques occupy an extremely important position in the treasure house of world art.
Traditional Chinese painting with natural landscapes as the main object of depiction is a traditional Chinese painting discipline. Those who are rich in decorative meaning are called green landscapes; those depicted purely in ink are called ink landscapes or ink pen landscapes, in addition to these, there are also shallow landscapes; small green landscapes; boneless landscapes. Western landscape painting is divided into classical and modern in creation, and is also divided into thin and thin.
Southern Song Dynasty Zhao Boju Jiangshan Autumn Color Picture Scroll
Creative concept: Chinese painting pays attention to the creation method and mentality of the unity of heaven and man, the heart is all-round, and the imagination is in the sky, and regards this as the highest realm of painting. Western landscape painters pursue to reproduce nature to the maximum extent possible, using different techniques to depict natural landscapes.
Expression method: You can see that the modeling method of Chinese painting is "line". In landscape painting, Chinese landscape painters rely on "lines" to shape the characteristics of mountain stones, so they can form various meanings of "lines" and various rubbings. The "line" here is an extremely important element in the work, and the application of the "line" directly affects the quality of a work.
Song Jia Shi Gu Yanguan Ancient Temple Album Page
How to understand landscape painting?
For most people who collect calligraphy and painting, appreciating landscape painting is only about whether they can understand it, and their appreciation steps are: What is the painting? Doesn't it look like it? What is the moral of this shape of the painter? If they all answered, they thought they understood the painting, and if they couldn't answer it, they thought they couldn't understand it. This way of appreciating is actually a linear way of thinking, very one-sided and not deep. Using this method to appreciate Chinese landscape painting, in general, Gongbi landscape is easier to understand, because what he depicts is more realistic.
If the ink painting is large, it is difficult to appreciate, because it is concrete and too abstract. Of course, it is completely understandable for ordinary people to appreciate landscape painting in this way, because painting like and seeing clearly is easy to cause associations and co-whining. But we must understand that the quality of a landscape painting is not measured by its image or dissimilarity.
Ma Yuan, Southern Song Dynasty, Palace Museum
As far as art is concerned, when we measure the quality of a landscape painting work, or we appreciate a landscape painting work, first of all, it is not whether it is like or not, but in the theme of the landscape painting work, or whether a certain concept, a certain thought, and a certain emotion radiated in the landscape painting work can firmly grasp the heartstrings of the viewer, whether it can give people a full artistic aesthetic enjoyment, and let people get some enlightenment and education from it.
It should be said that this is the real purpose of all works of art. Likeness and non-sufficiency are merely a means to an end rather than an end in itself. Therefore, likeness and non-conformity cannot be used as a measure of the quality of the work or the appreciation of the work.
So, how do painters look at paintings? As far as Chinese painting is concerned, insiders generally look at the overall momentum of the picture, in fine art terms, that is, to taste its charm, or god-like, and then look at its pen and ink interest, composition, coloring, pen strength, etc. Finally, look at its shape, that is, it does not resemble or resemble. This method of appreciating Shen Yun by insiders certainly captures the substance, because Shen Yun is a high artistic aesthetic enjoyment, which is often the goal pursued by Chinese painters.
Song LiCheng Read the stele stone map
Song Li Cheng Qing Luan Xiao Temple Map
Of course, it is not an easy task for ordinary people to experience a kind of charm from painting, which not only requires a certain aesthetic ability and artistic accomplishment, but also needs to have a certain basic knowledge of landscape painting, especially a feeling trained through landscape painting. Therefore, in order to appreciate landscape painting well, it is also necessary to have many talents and artistic accomplishments.
However, if we appreciate landscape painting works from the following aspects, we may be more understanding. Some people have proposed that the appreciation of calligraphy and painting needs to go through three stages of aesthetic perception, aesthetic understanding and aesthetic creation, so it is very reasonable to appreciate landscape painting works from these three aspects.
Zhao Mengfu Quehua autumn color map
Yuan Zhao Mengfu Xie Youyu Qiu Tu
Aesthetic perception requires us to intuitively perceive the aesthetic object, that is, the work of art itself, and we can perceive what is painted on the landscape painting? Paint like or not, the colors are bright or gray, the lines are smooth or clumsy, the expression methods are brushwork or freehand, etc., in short, you must personally and calmly and intuitively feel. The second step is to carry out aesthetic understanding on the basis of aesthetic perception. That is, on the basis of intuitive feelings, understanding and thinking, grasping the meaning, meaning and connotation of the work. This understanding includes an understanding of the art form and artistic technique of the work; an understanding of the content expressed in the work and the subject matter expressed; As well as the understanding of the background of the work and the spirit of the times, etc., this requires full mobilization of our ability to think.
Yuan Ni Zhan Youjian HanSong Diagram
We can think step by step: what does the author of this landscape painting want to express? In what way is it expressed? Is the artistic approach appropriate? Can the theme be adequately expressed? At the same time, through the picture of the work, guess the author's mind, whether it is enthusiastically praised or bitterly satirized; Through the atmosphere of the picture, experience the mood of the picture: whether it is deep or bold, optimistic or sad. In addition, according to the existing knowledge structure, combined with the author's life, creative characteristics and the background of the times.
Yuan Wuzhen Fisherman Father Figure Silk ink pen
Finally, the appreciation of landscape painting, there is also a stage of aesthetic creation. It is through aesthetic perception and aesthetic understanding, on the basis of the aesthetic creation of the work, through their own accumulation of beauty experience, cultural knowledge, life feelings, etc. to enrich the imagination, and then create a new image. In this way, you can truly appreciate the beauty of landscape painting.
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