The green landscape is dominated by mineral pigments stone blue and stone green, which should express the colorful hills and valleys. The green landscape is divided into large green and small green. The former has more hooks and silhouettes, less pencils, and heavy coloring; The latter is a thin application of green on the basis of ink pastels, which occupies an important position in the ancient painting art.
Founded in the Tang Dynasty, the green landscape has been developed and passed down by several generations of painters, forming a stylized method of expression, but it is very difficult to paint well, and Wang Shigu, one of the "Four Kings" of the Qing Dynasty, said: "Where there is green and green, the body should be serious, the qi should be light and clear, and the strength should be all in the halo, and yu Yu should be quietly enlightened for thirty years." In other words, painting green and green cannot be done without ink painting skills.
Today, with the editor, I will swim in the green landscape paintings of the past and feel the breath of spring.
Sui Zhan Ziqian "You Chun Tu" silk 43cm×80cm
Green landscape is an important part of traditional Chinese painting and is a typical form of expression of heavy color. With solid and unchanging minerals lithene and stone green as the main color, the green and green are reflected in each other, and the grandeur is magnificent. Green landscape was once popular as the main landscape style in the court of the Sui and Tang dynasties and the late Northern Song Dynasty, and gradually declined after the Song Dynasty. Chuan Sui Zhan Ziqian's "You Chun Tu" is the first complete and independent landscape painting in the history of mainland landscape painting, and at the same time opened the end of the green landscape, which had a profound impact on future generations.
Tang Li Zhaodao,Ming Emperor Xingshu Tu,55.9cm×81cm
Ancient Chinese painting is represented by literati painting, advocating "seeing simplicity and embracing simplicity, less selfishness and widowhood", valuing "weakness" and "emptiness", and the black and white color of ink painting occupies the dominant position of Chinese painting. The concept of literati ink freehand painting based on the principle of "thin color and thick gas" permeates the psychology of each Chinese. This kind of expression that leaves the color, only focused on the exploration of various aesthetic tastes and technical formulas in the body of literati painting, developed to the end of the Qing Dynasty with a little more softness and less vitality, and finally alienated from the warm and clear emotions of Chinese painting, and went farther and farther towards the pursuit of dry, silent, mysterious and light painting. The concealment of the charm of color expression can be seen as the deprivation of the true feeling performance of landscape painting by traditional Chinese philosophy, which has a certain degree of negative impact. The vigorous wave of literati ink painting forced green landscape painting to slowly withdraw from the mainstream circle and settle down in the folk at a loss.
Tang Li Sixun, Jiang fan pavilion, silk, 101.9cm×54.7 cm
Li Sixun and Li Zhaodao of the early Tang Dynasty were outstanding green landscape masters, and were known in history as "General Li of the Great and Small". Li Sixun pioneered the creation of the great green landscape and the golden landscape, forming a rich effect of "golden splendor" and pushing the green landscape to a peak. Li Sixun's "Diagram of Jiang fan pavilion" is now in the National Palace Museum in Taipei. The picture is rich in color, mainly stone blue and stone green, with gold powder to improve the color, the mountain stone cover dyes several times, the so-called "green as the quality, gold and blue for the text" "the yang side is painted with gold, the yin side is blue", the overall school is lush and thick, golden and brilliant scene, very decorative effect. The "Catalogue of Famous Paintings of the Tang Dynasty" calls Li Sixun "the first in the landscape of the national dynasty", and praises his outstanding contributions to the green landscape.
Song Zhao Boju 《Xianshan Pavilion Map》 Silk + Paper 69.9×42.2cm
"Chufa Hibiscus" and "Wrong Gold Cutout" are two aesthetic orientations that coexist in the history of Chinese literature and art. In fact, the color itself is not a big mistake or bad, but in the traditional concept of green landscape, there is royal support and the pursuit of aristocratic aesthetic taste, rigorous brushwork, colorful and brilliant, painting style is strong and powerful, and it is more difficult to make techniques. The imposing and luxurious green landscape painting originally had a healthy aesthetic mentality as the foundation, showing the grandeur advocated by Confucianism and the splendid beauty of the world, and also reflected Zhuangzi's aesthetic views of "majestic Vientiane" and "exorcising the eight poles". At the same time, the green landscape through polishing, tempering to shape the quality of the work, can not simply use the philosophical point of view of "heavy road light weapon" to measure, the emergence of any painting artistic effect is to be implemented in the specific materials and means, can not be because "its art is close to suffering" can not be learned.
Northern Song Dynasty Wang Yi 《Winning Mountain Picture Scroll》
Northern Song Dynasty Wang Yi "Yanjiang Stacked Mountains"
The "most critical change" is that the method of painting, rendering, and painting of trees in ink paintings has been moved to the previous heavy colored green and green paintings that only outline and flat color. Wang Xue's "Yanjiang Stacked Mountains" also made a bold attempt. Relying on his skillful ink painting skills, he spliced the green form at will, in which he injected the mood of the ink landscape that was alive and free, and the sense of form of the green landscape was strong. He changed the spiral superposition and lack of change in the green landscape painting of the peak shape, and diluted and adjusted the cirrus in the ink painting he was good at, so that the image modeling was empty and dense, leaving a position for the green color, reflecting the decoration in realism but not losing the color dispersion and flowing in the miscellaneous. The spring water is also painted in the method of "counting white as black" in the ink painting with thick ink and leaving white. Here, the fit of ink and green is seamless, and the language exploration of heavy color expression is also very successful.
Tang Wang Wei "Chuan Chuan Tu" Silk wood color
Wang Wei, the "ancestor of Nanzong", who advocated ink landscape painting, also made green landscapes. Descendants called Li Sixun Li Zhaodao as one, more outline, less pencil, and more heavy color is the big green landscape, and Wang Wei, who has a lighter weight color, is called a small green landscape.
Northern Song Dynasty Wang Ximeng 《千里江山圖) (full volume) Silk 51cm×1191 cm
The monumental work of the green landscape is Wang Ximeng's "Map of a Thousand Miles of Rivers and Mountains" of the Song Dynasty. In terms of color, this is used as a large turquoise color, the picture is uniform and clear, and it is rendered in the middle of the green with powder and ochre, highlighting the thick and green effect of the stone bluestone green, which is very varied and decorative.
Northern Song Dynasty Zhao Boju "Autumn Color Map of Jiangshan"
The green landscape developed to the Southern Song Dynasty, represented by the brothers Zhao Boju and Zhao Bohua. On the basis of inheriting the painting method of da qing green, the two merged the techniques and tastes of literati ink painting, replaced the past grandeur with the elegant and clean appearance of "the extreme of craftsmanship and morale", and created a kind of green landscape between the courtyard body painting and the literati painting. The "Autumn Color Map of Jiangshan" now in the Palace Museum is a representative work of Zhao Boju.
Since then, due to the influence of the literati painting trend, landscape painters mainly focus on ink landscapes, and green landscapes have been degraded and gradually squeezed out of the mainstream position of the painting world, wang Bomin described it as "developed, but not developed".
Yuan Zhao Mengfu 《Quehua Autumn Color Map》
Yuan Qianxuan "Basho Tangzi Tu" 37×38cm
Yuan Qianxuan Mountain Residence Map, paper, 29×124cm
The art of the Yuan Dynasty has been innovated in the tide of "retro", the green landscape has inherited and developed the techniques and aesthetics of the Song, and the literati interest in the paintings has become increasingly strong, which has prompted the green landscape of the Yuan Dynasty to be unique in the history of painting. The two people at the beginning of the Yuan Dynasty, Qian Xuan and Zhao Mengfu, made great contributions to the transformation of the green landscape in the new era.
Ming Qiuying Fan Face "Flower Rock Ranger"
Ming Qiuying, Chibi Scroll, Silk, 26cm×112cm
Ming Qiuying Ten Views of the River (full volume) Silk 16cm×246cm
Ming Qiuying 《Taoyuan Wonderland Map》
Ming Wen Zhengming "Lanting Repair Map"
Ming Shen Zhou《 "Green Landscape Axis"
Ming Huayan, Floral Landscape, Paper, 25.1cm×28.7cm
Ming Liu Yan "Riding a Mountain Map" 49cm×67cm
In the Ming Dynasty, social development was more diversified, and the development of green landscapes also showed diversified characteristics.
Qing Wang Yi "Peach Blossom Spring Water"
Qing Anon. "12 Screens of Qunxian Zhushou Hand Scroll" (full volume) 52cm×195cm
The Qing Dynasty inherited the general trend of the painting world since the Yuan and Ming Dynasties, and the dominance of literati painting was more solid. The literati's brushwork has more deeply influenced and penetrated into the creation of green landscapes. The diverse aesthetics of the Ming Dynasty fell into the confluence trend in the Qing Dynasty, and the techniques and styles of various families were blended and brilliant in the paintings.
Qing Shangrui 《Visiting Friends with Qin》, 27×106cm
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Review: Li Xianghua
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