"Whoever sets up green and green, the body must be serious, the qi should be light and clear, and all the strength should be in the halo, and the remaining green method should be quietly enlightened for thirty years, and the best of it should be done." This is the experience of the famous painter Wang Yi (Yin Ruhui) of the Qing Dynasty on the painting of green landscapes.
Wang Yi is known as the "Painting Sage of the Early Qing Dynasty". However, after he "started to do his best", green landscape painting once again entered a period of decline.
Green landscape is a unique variety of Chinese landscape painting, which began in the Tang Dynasty, and Zhuang Su's "Painting Succession Supplement" in the Yuan Dynasty called the early Song Dynasty painter Zhao Boju "good green landscape", and mentioned "green landscape" for the first time. Historically, green landscape painting declined three times, namely from the Five Dynasties to the early Song Dynasty, the Yuan Dynasty, and the late Ming Dynasty to the Qing Dynasty.
(Yuan) Qian selected the volume of "Secluded Residence Map"
Curious: the green landscape has the reputation of "the lighter and the more thick, the so-called brilliant pole, still return to nature, one of the painting methods change" (Qing Dynasty painter Yun Shouping), why has it been repeatedly excluded?
First, the green and green painting method is an imported product, which is repeatedly run into with the local culture.
Second, the technology is complicated, and it takes several days to make a picture, which is different from the "elegant play" emphasized by "literati painting".
At the end of the Qing Dynasty and the beginning of the People's Republic, the green landscape was basically marginalized. Mr. Zhang Daqian went to Dunhuang, and through copying the murals and relying on the green painting method, he broke through a new road of reform in Chinese painting.
Chinese New Year's Eve this year, an excerpt from the dance "Only This Green" appeared on the CCTV Spring Festival Gala, causing heated discussion, and netizens imitated the "green waist". The green landscape does not come entirely from Chinese civilization, it contains the achievements of ancient India, ancient Greece, ancient Central Asia and other civilizations, and is the best interpretation of Mr. Fei Xiaotong's "beauty of each other, beauty of beauty, beauty and commonality, and the unity of the world".
Hundreds of rivers meet the sea, and there is tolerance is great. But how can it be done? The history of green landscapes is thought-provoking.
"Only This Green" dance poetry drama project
Black and red are the most respected
"Dan" is red, mostly with cinnabar. "Qing" is not found in the oracle bone, and "qing" in the Zhou Dynasty Jin text is "jing", not referring to color. During the Spring and Autumn Warring States period, "qing" was used to call color. It is generally considered to be black, and some scholars believe that it is extremely dark blue.
"Danqing" also said that it may be because the original ore of the two is associated, both from the colt (pronounced ruyu, that is, red stone fat), divided into Danluo and Qingluo, which can be made of pottery and can also be used as pigments. From the pre-Qin dynasty to the end of the Han Dynasty, black and red were the most respected, when lacquerware had the saying that "those who do not say color are black", and paintings also used black and red as the main colors.
Black and red are not easy to change color, can be used for a long time, and are all positive colors. "Five colors are blinding, five tones are deaf", the ancients were prejudiced against color matching, believing that it was harmful to the body. Ancient red was close to today's brick red and was less visually stimulating. Gu Kaizhi's "Female History Zhentu" (the original work has been abandoned, and the Tang Dynasty model book now exists) is presented in brown tones. In addition, according to the Five Elements Theory, red corresponds to the south, black corresponds to the north, and if you grasp black and red, you will also grasp the north and south.
The shift from black and red to heavy blue-green is related to the introduction of Buddhism.
In the murals of the Kyzyl Caves in Xinjiang, the earliest green paintings can be seen. This place belonged to Guizi in ancient times, and was the first stop for the introduction of Western culture to the Central Plains. The Kyzyl Caves belong to the Hinayana Buddhist culture, heavy retreats, excavation of grottoes, is for the convenience of monks retreat, the content of the murals are also based on retreats.
Judging from the style of the murals, the Kyzyl Caves in Xinjiang are in line with the style of the Ajanta Grottoes in India (388 km northeast of Mumbai). The latter is dominated by earth red, that is, "Indian red", while the former shows a brilliant blue-green color, although after more than a thousand years, the remnants are still shining.
Cave 123 of Kyzyl is a transformation of a thousand Buddhas
The "convex and concave painting method" was introduced to China
Why is it said that the Kyzyl Caves in Xinjiang originated from the Ajanta Caves in India?
The first is from Ajanta in India to Kyzyl in Xinjiang, with many grottoes along the way, and the style is gradually changing. Second, indian murals use a unique "convex and concave painting method", that is, they are painted flat with layers of color to form a three-dimensional sense.
When doing Indian murals, first use sand, mud, straw, etc. to make a ground battle on the wall, in order to avoid cracking, generally divided into two layers, the upper layer is brown, and then the line painter draws the shape, and then hands it over to the apprentice for coloring.
When coloring, first "fill in", that is, in addition to the part that should be colored, paint earth red, so that the colored part is highlighted. Then "brush the base color", generally white, and then paint the color layer by layer, generally with vermilion. Due to the different number of layers colored in different parts, the effect of staggering high and low is formed. In order to strengthen the three-dimensional sense, in the highlight parts of the mural, such as the forehead, nose bridge, eyelids, eyebrow bones, etc., a white line, that is, "whitening", is added, and the single line on the bridge of the bodhisattva's nose is drawn as a double line. Finally, the outline of the character is depicted in black, that is, "iron line drawing".
The "convex and concave painting method" is more three-dimensional than the ancient Zhongyuan painting method, which contains the ancient Greek modeling technique, but it is not exactly the same. Ancient Greek painting emphasized light and shade, expressing volume through changes in light. The "convex and concave painting method" does not consider the factor of light, adopts scattered perspective, and uses the color thickness to express the volume. The problem with this is that it is easy to move toward stylization. The painter does not have to observe the person being painted, but directly copies the predecessor.
The kyzyl cave frescoes were made in India, with earth red under the surface and turquoise, the most admired in Central Asia, on the upper floor. In ancient Central Asia, the "color is still green and white", often using expensive lapis lazuli as a pigment, and the murals of the Kyzyl Caves, and even the Dunhuang murals, used lapis lazuli.
The Ajanta Caves
Zhan Ziqian painted the first green landscape
During the Wei and Jin dynasties, green landscapes appeared in China. Gu Kaizhi's "Roselle Endowment" has green and green, but the original work has been lost, and the 4 facsimiles preserved are from the hands of Song Dynasty painters. At present, the earliest surviving green landscape is the Sui Dynasty painter Zhan Ziqian's "You Chun Tu", the famous writer Shen Congwen believes that it is also Song imitation, so there is no previous bibliography, Song Huizong set it as Zhan Zi Qian.
Sui Zhan Ziqian "You Chun Tu"
The "You Chun Tu" is obviously influenced by the murals of the Kyzyl Caves.
First of all, it adopts the "convex and concave painting method", which uses coloring thickness to express the three-dimensional sense of the mountain.
Secondly, it also uses pen and ink to outline the shape, which is close to "iron line drawing", but gives full play to the line art of Chinese painting.
Third, in the composition of the use of multi-point perspective, like the "Mount Meru" painted in the Kyzyl Grottoes, with the mountain as the main body, changing the defect of "or water can not be flooded, or people are greater than mountains" in early landscape paintings.
Fourth, the use of dot brushwork to color the mountain is also a "convex and concave painting method", and the painting language is vivid.
During the Wei and Jin dynasties, scholars and doctors often avoided the world and took pleasure in the landscape, the so-called "coming and going to donate the times, transcending the world and passing away from the world, proud in the hills, safe and foolish and wise" .
The pigments used in "You Chun Tu" are stone blue and stone green, not expensive lapis lazuli. The color of stone green and stone green is heavy, known as large green, and later generations also use plant pigments, which are relatively soft, called small green.
Some scholars believe that the "golden landscape" uses lapis lazuli, because the Tang Dynasty people called lapis lazuli "gold essence", not really gold and silver. But in fact, General Li of the Tang Dynasty, who is known for his "golden landscapes", did use mud, gold and silver on his paintings. Lapis lazuli is native to Afghanistan, some contain Venus (actually pyrite), the price of the best is 7 times that of gold, I am afraid that no painter will use it as a pigment.
The green landscape is challenging
The Tang Dynasty was the peak of the development of green landscapes, representing the painters, that is, General Li.
Da Li, also known as Li Sixun, was a great general of the Right Wu Wei, and his son Li Zhaodao never served as a general, but only a scholar in the book (正五品上, equivalent to the secretary of the general office), and the ancients called him "General Xiao Li". During the time of Wu Zetian, 34 people in the Li family's clan room were ambushed, and Li Sixun, who was also a member of the clan, indulged in painting from an early age, "the five members of the family (brother Sijie, nephew Lin Fu, Zi Zhaodao, and nephew Li Zhuo) were all good at Danqing.
Li Sixun's representative work is "Jiangfan Pavilion Map", thickly painted green, extremely gorgeous, his method of painting clouds is very unique, is first used to outline the outline, and then filled in white, the edge is lightly painted, the middle is thickly painted, and it is also influenced by the murals of the Kyzyl Grottoes. The clouds in Li Zhaodao's "Ming Emperor Xingshu Tu" are also painted in the same way. For a considerable period, it was thought that the latter was also from Li Sixun's hand, but when the Anshi rebellion army attacked Chang'an, Li Sixun had already died.
Tang Li Sixun", "Jiang Fan Lou Pavilion Map"
General Lee had a great influence on Japan. "Xuanhe Painting Notation • Japan Kingdom" recorded: "There are paintings, do not know the name, passed on his national style of the landscape and small scenery, the color is very heavy, mostly use gold and blue." ...... In the Taiping Revival, Japanese monks and their disciples came with five or six merchants, and they did not understand Chinese... Its speech rate is in zhongzhou. ”
However, the Tang Dynasty also gave birth to the "enemy" of the green landscape, that is, the great poet Wang Wei, who enriched the Falun Gong. It is painted with a light dry ink side brush, showing textures such as mountain stones, peaks, trunks, clouds, etc., with a strong sense of three-dimensionality. The Jin people painted "empty hooks without wrinkles", Li Sixun used axes to split wrinkles, and Wang Weiduo used phi ma to open different styles of the Southern and Northern Sects.
When the ink was introduced to Wu Daozi, it was fully developed. Tang Xuanzong asked Wu Daozi and Li Sixun to paint "Jialing Spring Colors", Wu Daozi became one day, but Li Sixun painted for a month, And Xuanzong said that "each of them is doing their best", and the actual high and low have been seen.
A new peak emerged in the Song Dynasty
The five generations at the end of the Tang Dynasty were in turmoil, and the literati were reluctant to try the time-consuming green landscapes. The Song Dynasty attached great importance to the construction of painting academies, the so-called "Luo Zhi Tianxia artists, Youjia Lu yang, depending on their talents, granted the positions of waiting for the edict, waiting, art, painting, student, and offering." Moreover, Taizu and Taizong, the second to destroy the Western Shu and the Lower Southern Tang, all the famous paintings that are known as the five generations of paintings, and all the precious famous paintings are included in the imperial palace."
During the song dynasty, everything was made of ancient rituals, and painting was also "good ancient map", and by the time of Song Huizong, the "Thousand Miles of Rivers and Mountains" emerged, which became a new peak of green landscape painting.
Song Wang Ximeng's "A Thousand Miles of Rivers and Mountains" volume
The author of "A Thousand Miles of Rivers and Mountains" is Wang Ximeng, and his personal information is not recorded in historical records. On the painting, there is an inscription by Cai Jing, saying: "Zhenghe three years leap april 1st." At the age of eighteen, Xi Meng, who used to be a disciple in painting, was summoned to the forbidden Chinese library, and gave a number of paintings, but did not work much, knew that its nature could be taught, so he gave it an edict, personally taught his law, and did not exceed half a year but made this attempt to advance, Shangjiazhi, because he gave his subjects, and Jing said that the world's squire was just doing it. ”
The "Thousand Miles of Rivers and Mountains" is 12 meters long, and this long scale seems to be from the murals of the Kyzyl Caves. Some scholars believe that this painting is a forgery, because some details are inaccurate, but it is a silk painting and it is extremely difficult to counterfeit. Moreover, Cai Jing's writing has cracked, it is obvious that the silk has been decayed for a long time, and it is impossible for the counterfeiter to write on such silk that it is impossible not to see it.
"A Thousand Miles of Rivers and Mountains" surpasses its predecessors in the use of glue, and the color of the ore is still bright, but the disadvantage of the ore pigment is that it is easy to fade, so it is less exhibited to the outside world.
The Yuan Dynasty was the peak period of landscape painting, but it was also the low peak period of the development of green landscapes. The literati did not want to be mistaken by the times, and mostly placed their affection on the ink landscape and the shallow landscape to find themselves from it, but they also emerged qian xuan and other "landscapes fall into ink strongly, and the painting method is as strong as the Jin and Tang Dynasties".
Green has become a "Chinese model"
The Ming Dynasty was another peak of green landscapes, and ink painters also painted green landscapes. The representative painters of Qinglu include Shen Zhou, Wen Zhengming, Tang Bohu, Qiu Ying, etc., but Dong Qichang developed Mo Shilong's Nanbei Sect Theory. He believes that General Li is the Landscape of the Northern Sect and Wang Wei is the Landscape of the Southern Sect, and that "the sect of General Li is not the study of Wu Cao Dang", emphasizing that landscape painting should be "innocent and natural".
In fact, Dong Qichang is good at green landscapes, and his "Day Jintang Diagram and Secretary Volume" uses the "boneless method", that is, does not outline the edges, directly uses color as ink, and blends into shape.
This method is said to have been created by Zhang Shengxuan and recorded by the Song people: "In Liang Tianjian, Zhang Monk, without using an ink pen on every fiber, used a blue-green heavy color map to form a peak Lanquan stone, which is called a boneless method and is famous for a while." "But I haven't seen a Song and Yuan painting using this technique yet. It is generally believed that due to the constraints of early papermaking technology, although the Yuan Dynasty had shengxuan, it did not have the effect of infiltration, and the Ming Dynasty's biosmosis that could be infiltrated was popularized. The ming dynasty boneless green is represented by the Ming Dynasty Lan Ying "Wulin Sect", and Dong Qichang is also a master.
Dong Qichang's artistic proposition of revering the south and degrading the north and blindly seeking lightness made most of the painters of the Qing Dynasty tend to paint by literati. The Qing Dynasty also had many masterpieces on the green landscape, but overall, it lacked the impact of the new system such as the Kyzyl Cave murals, overemphasized pen and ink, and the creation gradually became stylized, and even could not find the power of change.
Mr. Zhang Daqian went to Dunhuang to copy it precisely to find a breakthrough. He later added the splash ink method in the green landscape, "splashing writing and doing, color and ink blending", which was praised by Xu Beihong as "a thousand in five hundred years".
Zhang Daqian, "Green Landscape"
Green is originally an imported product, but it is taken, imitated, mastered, and innovated, and now green has become an important part of Chinese culture. This process of localization is quite enlightening for understanding what Chinese culture is and how to inherit traditions. (Editor-in-Charge: Shen Feng)