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◇ Pictorial Twelve Taboos
It is said that the twelve taboos of landscape painting. Rao nature of the Yuan Dynasty put forward this theory in the "Shanshui Family Law": first, the arrangement is forced; second, there is no distinction between far and near; third, the mountain has no air pulse; fourth, the water has no source flow; fifth, the territory is not dangerous; sixth, the road has no entry and exit; seventh, the stone stops on one side; and eight. The tree has four few branches; nine, the characters are squirm; ten, the pavilions are intricate; eleven, the light is not appropriate; twelve, the point dyeing can not be. The pavilions are arranged in landscape paintings, with twists and turns, but they can be looked forward to
Sheng zi, Rao's jealousy, refers to the painting material based on the boundary painting pavilion.
◇ Eight grids
The Northern Song Dynasty Han Humble's "Complete Collection of Pure Landscapes" proposed: "All paintings have eight grids: the stone is old and moist, the water is pure and bright, the mountain should be Cui Wei, the spring should be sprinkled, the cloud smoke is infested, the wild path is roundabout, the pine dragon snake, and the bamboo treasure wind and rain are also." ”
◇ Seven waits
Chinese painting terminology. Dai Xi of the Qing Dynasty's "Paintings of Xi Kuai" proposed: "Painting must be subject to seven conditions: first, fine paper (paper); second, pen and hand scale; third, color ink purity; fourth, new travel to landscape, or new famous deeds; fifth, the painter's appreciation; sixth, Yixing; seventh, when the work is not raw and unfamiliar." Seven waiting and then better composition. ”
◇ Six gases
Chinese painting terminology. Zou Yigui of the Qing Dynasty put forward in his "Sketch of The Little Mountain": "Painting is not six qi and one is tacky, such as the village girl's grease; the second is the craftsman's qi, the work is not rhymed; the third is the fire qi, there is a pen battle and the sharp edge is too exposed; the fourth is grassy, the rough rate is too much, and there is little elegance; the fifth is the boudoir qi, the depiction is weak, completely boneless, the six are black qi, ignorant and vain, and the evil is intolerable." ”
◇ Six long
Chinese painting terminology. Six strengths of painting techniques. There are two sayings: First, the Northern Song Dynasty Liu Daool's "Commentary on famous paintings of the Holy Dynasty" put forward the trick of knowing painting, caring about the six elements of ming and judging six long: the so-called six elders: rough halogen to seek pen one, secluded to seek talent two also, delicate and skillful to seek force three also, crazy to seek reason four also, inkless to dye five also, flat painting to seek long six also. The second is the Qing Dynasty Wang Yu's "Dongzhuang On Painting": "The painting has six lengths: the qi and bone are elegant, the charm is beautiful, the pen is traceless, the ink is wonderful, the layout changes, the color is gaohua is also, and the six are not prepared, and they must not be masters in the end." ”
◇ Six points
Chinese painting terminology. Six requirements for the creation of paintings. There are two sayings: One is the Five Dynasties Liang Jinghao's "Notes on Brushwork": "Fu painting has six points: one is qi, two is rhyme, three is thinking, four is jing, five is pen, and six is ink." "Qi, the heart follows the pen, and the image is not confused; the rhymer, the invisible standing form, the preparation of the instrument (a legacy) is not bad; the thinker, the deletion of the big point, the contemplation of the form; the scenery, the system of time, search for the mysterious creation of truth; the author, although according to the law, the luck is changed, the quality is not shaped, such as flying as moving; the ink, high and low, the quality is shallow and deep, the literary color is natural, and it seems that the pen is not because of the pen." The second is the Northern Song Dynasty Liu Daool's "Commentary on the Famous Paintings of the Holy Dynasty" put forward the trick of knowing painting, caring about the six points of the Ming Dynasty and judging the six lengths: "The so-called six essentials, the qi rhyme and strength of one, the grid system is the second old, the variation is reasonable, the variation is reasonable, the painting has Ze four also, the natural five also, the teacher and the school are short six." ”
◇ Six laws
Chinese painting terminology. The six criteria for evaluating figure paintings, the "six methods" cited in the Southern Dynasty Qi Sheikh's "Catalogue of Ancient Paintings" are: vivid qi rhyme, bone method with pen, object pictogram, color with class, business position, and transfer mold writing (one work is transferred to the mold). Tang Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties" lists "vivid qi rhyme" and "bone method with pen" as the primary methods. Zou Yigui of the Qing Dynasty's "Xiaoshan Painting Spectrum" believes that "with the six laws, when the operation is the first, the pen is second, the color is second, the mold should not be included, and the qi rhyme is after the painting, and the pen is the qi rhyme, where to start?" Taking qi rhyme as the first is to appreciate the words of the critics, not the writer's law. Later, the commentators benefited the public and gradually applied it to landscapes, flowers and birds, and have become synonymous with "Chinese painting". The modern Qian Zhongshu re-punctuated: "Who are the six Dharmas?" First, the rhyme, vivid is also; second, the bone method, the use of the pen is also; third, the object, the pictogram is also; fourth, with the class, the color is also; fifth, the operation, the position is also; , the transmission, the model is also". (Pipe Cone Edition, Vol. IV)
◇ Four difficulties
The terminology of Chinese painting, the Qing Dynasty Shengdashi's "Xishan Lying Tour" said: "There are four difficulties in painting: less brush painting, more accurate; the situation is deep, the two difficulties are also; the danger is not strange, the flat is not weak, the three difficulties are also; the operation is dismal, the structure is natural, and the four difficulties are also." ◇Three to
Chinese painting terminology. The Qing Dynasty Shengdashi's "Journey to Xishan" said: "There are three paintings: Li Ye, Qi Ye, and Fun Ye." If it is not three, it cannot enter into the exquisite and divine product, so it will seek wonder in peace, pure cotton wrapped in iron, and virtual reality will be born. ”
◇Three diseases
A Chinese painting term that refers to the three defects of using a pen. Northern Song Dynasty Guo Ruoxuan's "Picture Seeing and Hearing Zhi" Volume I "On the Gain and Loss of Using the Pen", "There are three diseases in painting, all of which are with pens, the so-called three: one version (plate), two engraving, and three knots." The version of the wrist weak pen idiot, all loss and take, the shape of the flat, can not be rounded also; the engraver is suspicious in the pen, the heart is fighting, the hook painting, the delusion of the gui angle also: the knot wants to do not work, when scattered, like the object condensation, can not be smooth also. "Chinese painting attaches importance to the use of pens, attaches importance to the beauty of lines, and if there is no line beauty in painting, it is called "no pen".
◇Three products
Chinese painting terminology. It refers to the three levels of the art of appraisal of calligraphy and painting, namely divine products and wonderful products. Noh. In the Tang Dynasty, Zhang Huaijuan's "Book Break" commented on the calligraphers of all generations, Lishen, Miao, and Neng, which originated from the upper, middle, and lower grades of liang Yu's "Book" of the Southern Dynasty (each grade is divided into upper, middle, and lower, a total of nine examples); the Northern Song Dynasty Liu Daool's "Commentary on Famous Paintings of the Holy Dynasty" commented on the paintings, and Xia Wenyan of the Yuan Dynasty and Wang Shizhen of the Ming Dynasty inherited it. In addition, Zhu Jingxuan's "Catalogue of Famous Paintings of the Tang Dynasty" of the Tang Dynasty assisted Li Sizhen's "Book After-Products" in the upper, middle and lower three grades of nine products. The Northern Song Dynasty Huang Xiufu's "Yizhou Famous Paintings" is divided into four grids: Yi, Divine, Mysterious and Neng. It is said that "the yige of painting, the most difficult to do, clumsy rules in the square circle, contempt for the study of painting, pen and simple shape, natural, Mo ke model, because of the meaning of the table, so the eye of the Yigel." "The art of painting is to be pictographic, its heavenly machine is very high, thinking and god are united, creativity is three-dimensional, and the right to merge with the magic is not to say that the kitchen has gone, and it is flying against the wall, so the eyes know the god Geer." "Painting to people, each has its own nature, the pen is exquisite, I don't know what to do, if you throw the blade at the solution of the cattle, the kind of luck is in the nose, the heart pays the hand, the curve is as subtle as possible, so the eyes of the mysterious." "Painting has sexual circumference and vegetation, learning tiangong, and even knotting Yue Rongchuan, submerged scales and feathers, vivid images, so the eyes of the Nenger." Emperor Huizong of the Song Dynasty commented on the paintings, in the order of God, Yi, Miao, and Energy. In the Qing Dynasty, Huang Yu was subdivided into twenty-four products. There are two terms for Chinese painting and calligraphy: First, poetry, books, and paintings have all achieved a high degree of achievement, called "three absolutes". Tang Xuanzong Li Longji once inscribed on Zheng Qian's landscape paintings "Zheng Qian's Three Absolutes". Second, in the history of painting, Gu Kaizhi of the Eastern Jin Dynasty was called "Three Absolutes", and the original biography of Gu Kai in the Book of Jin said that Gu had "no talent, absolute painting, and absolute obsession". During the Ming and Qing dynasties, there were also those who called "talent, painting, and book" "three absolutes".
◇ Intention
It refers to the painter's repeated observation of objective things to obtain rich thematic ideas. Wang Wei of the Tang Dynasty said: "Whoever paints landscapes is intended to write first. Zhang Yanyuan also said: "The intention is to write first, and the painting is intended to be complete." "The bones are similar, and they are all based on the intention." There is a distinction between high and low intentions. Wang Yuanqi of the Qing Dynasty said: "If the fate is not high, the vision is not enough, although it is rendered Zhou Zhi, it will eventually belong to the diaphragm." ”
◇Location
The so-called "business position" refers to the appropriate configuration and ingenuity in the layout of the painting composition. Wang Yu of the Qing Dynasty's "On Painting in Dongzhuang" said: "Painting is first set in place." What is a location? Yin and yang, back, vertical and horizontal, undulating, opening and closing, locking knot, back hug, hook, overtake, reflection belt, must be ups and downs on the side, comfortable and free. ”
◇Knotting
Refers to the composition of the painting to start with a wide hand, close to the end, have a global perspective, not limited to one corner, and be thorough. Wang Yu of the Qing Dynasty said in "On Painting in Dongzhuang": "The beginning of painting is the most important. Together, like galloping horses, they must be able to hold on, and they have the tendency to live and not stay. A knot is like a thousand streams returning to the sea, harvesting it all, and having the meaning of exhaustion and not exhaustion. Zhang Feng commented on the painting: "The good chess player falls on the cloth, the sound strikes the east and the west, and gradually cleans up, so that the duan and duan win, and the good use of this yi family is Song ye." The painting is also wonderful to use pine, dry arrangement, and gradually dye layer by layer, so that it can be dashing and deep. ("Yuji Shanfang Extra-painting Record")
◇Confident
The Northern Song Dynasty Wen Tong (字和可) advocated that painting bamboo must first be "confident". Su Shi said in the "Record of Wen and Paintable Yundang Valley Yan Bamboo": "To paint bamboo, you must first become bamboo in the chest", claiming to be "and Kezhi taught so." In the poem "The Three Poems of Shu Chao Supplement and The Three Pieces of Bamboo", it is praised: "When you paint bamboo with ke, you see bamboo and do not see people." He who did not see anyone, but left him alone. Its body and bamboo, endless freshness. Chao Supplement zhi in the "Gift of Literature And Nephew Yang Keyi Learning Literature and Painting Bamboo Poetry", there is also a sentence "When you paint bamboo with can be painted, there is a bamboo in your chest". The so-called "confident and confident" is that before the painter created the manuscript, he had a mature idea of image shaping and composition layout, so he could "get a wonderful solution in one shot"
◇ Think of it wonderfully
Gu Kaizhi of the Eastern Jin Dynasty," "Wei Jin Shengliu Painting Praise": "Where painting, people are the most difficult, sub-landscape, sub-dog and horse, Tai Xie must be instrumental, difficult and easy to be good, do not wait to think of wonderful also." This is similar to the meaning of the so-called "floating algae lianyi" in the Western Jin Dynasty Luji's "Wenfu". However, "rethinking" is more extensive and purposeful than "association", and the painter's "imagination" is based on "reimagining", which is also the basis of the painter's "divine thought". Therefore, it has always been said that the "qi rhyme and vividness" of Chinese painting has been discussed, and Lai has "moved to think of wonderful things".
◇Ink is like gold
It means that the use of ink should be appropriate, not squandered arbitrarily, and as far as possible, the use of ink is not much and rich. According to legend, the Northern Song Dynasty landscape painter Li Cheng "cherished ink like gold", painted the cold forest, painted dead branches with thirsty brushes, and the tree body was only smeared with light ink, but on the picture, it still obtained the effect of "mountain forest, plain and dangerous". Wu Li of the Qing Dynasty once said: "Splashing ink and cherishing ink, the subtlety of the painter's use of ink, the spout of the person is magnificent, and the bone of the person who cherishes the bone is showy." Qian Du said: "Yunlin (Ni Zhan) cherishes ink like gold, the cover is light and loose with a pen, the dry edge is more, the pen is less moist, and the ear is rendered with a rub." Fu rendering can save the barren, raw clouds and smoke, and the pedantic man is far away from the law in an instant! He refused to use a wet pen to re-ink the ear. ("Songju Painting Memories") all expound the meaning and role of "cherishing ink like gold".
◇I don't realize that the pen is not there
Finger painting is expensive and subtle, although the pen has not yet arrived, but it can be obtained in the artistic conception. Zhang Yanyuan of the Tang Dynasty commented on Wu Daozi's paintings: "The intention is to write first, and the painting is intended to be complete, although the pen is not thoughtful, but the intention is also Zhou." Northern Song Dynasty Su Shi Bao Zhao Yunzi painted: "The pen is slight and the intention is already there." Yun Shouping of the Qing Dynasty said: "Today's people's intentions are in the pen and ink, the ancients' hearts are in the pen and ink, if they can look at the ancients' intentions without pen and ink, they have proposed gods and entered the skill." The relationship between the meaning and the pen is the relationship between the virtual and the real, and the use of the pen to see the virtual and the virtual to see the real is the magic of "the whole body is the spirit".
◇ Undressing plate
Chinese painting terminology. Undressing, that is, showing the chest and bare arms; coiling, that is, sitting casually on the floor. I want to concentrate on painting. "Zhuangzi Tian Zifang" says: "The former Song Dynasty Yuanjun will draw pictures, all the histories will come, stand up by the strokes, pen and ink, half of the outside, there is a history later, the arrogance is not inclined, the acceptance is not standing, so the house, the public makes people see it, then undress and plates, win (the same naked). Jun Yue: "But it is the true painter also." Yun Shouping of the Qing Dynasty also said: "Painting must have a disfigurement plate, if there is no one around, and then the machine is in hand, and the vitality is wolf." ”
◇Shape-like
Symmetrical with "god-like". Chinese painting terminology. Refers to the external characteristics of a work of art. The Warring States Situation has the saying that "the form is born of the gods". Qi Fanjian of the Southern Dynasty also had the saying that "if the form exists, the god exists, and the form is destroyed". The form and the god are unified. Although the Southern Dynasty Song Zongbing was the master of "all fun and melted his thoughts", he still insisted on "writing shapes with shapes" and "taking colors with colors". Gu Kaizhi of the Eastern Jin Dynasty put it more explicitly, that is, he "wrote God in form". Zou Yigui of the Qing Dynasty said: "There is no one who does not look like a god." Therefore, "shape-like" is the starting point of painting. However, seeking brilliance in the shape is still the ultimate in artistic formmaking. See also "God-like".
◇ God-like
Symmetrical with "shape-like", Chinese painting term. It refers to the unity of subjectivity and objectivity, from the appearance of things to the deepening of imagery. That is, "the use of the form of the gods, the quality of the gods of the form." The Northern Song Dynasty Su Swab had the saying that "on paintings to resemble shapes, see neighbors with children". Yuan Wenyue, "Painting is easy and difficult. The form is also the body, and the god is also its radiance. The form of a mortal person is often able to learn to paint, and as for the radiance, he is not superior in his chest, and there are those who cannot do it. Huang Xiufu said of the "Six Laws" Cloud: "Only the shape and the rhyme are the first, and if there is qi rhyme but invisible, the quality is better than the text; if there is a similarity but no qi rhyme, it is flashy and unrealistic." Its "qi rhyme" is "god-like". Chao Yidao, Yang Shen, Li Yan, etc., all elaborated, "Painting does not write in vain, but is about to form The God is there." Therefore, "both form and god" is the final theory of painting art. See also "Shape-like".
◇It is not similar
Chinese painting terminology. It refers to the artistic image of the painter, not only copying the objective object, but also summarizing, choosing and adjusting, in order to receive a higher artistic effect than life. First seen in the Ming Dynasty Shen Hao's "Painting the Crane": "Similar but not similar, not similar but similar." The Qing Dynasty Shi Tao inscription poem also has: "The famous mountain Xu you are not allowed to paint, the painting must be like the mountain must be strange, the magic of change is ignorant, not like the current worship." Modern Qi Baishi said "not similar to the like", that is, Shi Tao said "not similar to the like". Huang Binhong said: "Those who are absolutely like objects and those who are never like objects are paintings that deceive the world and steal names, but they are absolutely similar and never resemble objects, and this is a real painting" Fu Baoshi once listed the painting procedures: not like (starting) - like (passing) - not like (final). (Theory of Chinese Painting)
◇ Defeat the wall Zhang Suo
Chinese painting terminology. The finger wall marks are picturesque, which leads people to "think of it wonderfully". Speaking of the Northern Song Dynasty Shen Kuo's "Mengxi Pen Talk". Renzong Tiansheng (1023-1031) between the Painting Academy was only waiting for Chen Yongzhi, suffering from the fact that his landscape paintings were inferior to those of the ancients, and asked Yu Du's branch member Wailang Song Di, Di Yue: "This is not difficult to hear. Rudang Zhang (hanging) rope (white paper) on the wall of defeat, looking at it day and night, looking at it for a long time, and seeing the high flat and twisting on the wall of defeat across the rope, all of which become the image of the landscape and water. Thinking with your eyes, God's guidance to create, suddenly there are people, birds, grass and trees flying, then feel free to order the pen, natural nature, not like man-made, is called a living pen. "Since then, I have been painting the grid day by day. Guo Xi saw Yang Hui's plastic landscape wall, and also felt it, so that the people did not use mud palms, stopped with pistol mud on the wall, or concave or convex, did not ask, so they used ink to follow its shape, halo into peaks and mountains, and add pavilions and characters, as if they were natural, called "shadow walls". This method is actually the residual meaning of "defeating the wall Zhang Su".
◇ Beware of hair loss
Chinese painting terminology. Liu An of the Western Han Dynasty mentioned in the Huainanzi Shu Lin Xun that "outside of the ordinary, the painter is careful of hair and loses his appearance". It means that painting cannot be finely hairy, if so, it will make the overall appearance (whole) of the picture lose. Wang Yu of the Qing Dynasty said: "Paintings that lose their big appearance are big mistakes, loss of details is small mistakes, small mistakes are easy to change, and big losses are difficult to save, and the painter should not be careless." ”
◇ Wu costume
Also known as "Wu Family Style". A pale coloring style of Chinese painting. Legend has it that it began with the figure paintings of Tang Wu Daozi, hence the name. Northern Song Dynasty Guo Ruoxuan's "Picture Seeing and Hearing Zhi" Volume I "On Wu Sheng's Color": "The wall scrolls painted by Taste Guan (Wu Daozi) are majestic and simple; or there are heavy colors between the walls, most of which are decorated by posterity. So far, painters have flicked Danqing, which is called 'Wu costume' (clip note: the statue of sculpture, there is also Wu costume). Later, he extended his meaning to call the shallow landscape painting "Wu Costume".
◇ Cao Yi
Chinese painting terminology. Refers to two opposing clothing fold expression programs. According to legend, Wu Daozi of the Tang Dynasty painted figures with round strokes and fluttering clothes; while the Northern Dynasty Qi Cao Zhongda painted Buddha statues, with dense overlapping brushwork and tight and narrow clothes, and posterity said that "Wu belt when the wind, Cao clothes out of the water". These two famous depictions are also popular in ancient sculpture and casting. One says that Cao refers to Cao Buxing of the Three Kingdoms of Wu, and Wu guides Wu of the Song Dynasty. See Northern Song Dynasty Guo Ruoxuan's "Picture Seeing and Hearing Zhi" Volume 1 "On Cao Wu Body Law".
◇ Spring silkworm spit silk
Chinese painting terminology. Used to describe the characteristics of line drawing figure painting. Commentators say that Gu Kaizhi's line drawing is like "spring silkworm spitting silk". Yi can paint a delicate and soft, unceasing performance. Unlike the feeling of the line drawing, the former is soft and the latter is stiff.
◇ Nine decays
Chinese painting terminology. The ancients said: Painters and figures will "die in nine decadences." That is, the shape is first drawn with a decaying pen (such as wicker charcoal) and modified several times, so it is known. "Nine Decadence" "Nine Decadence" is said to be many times; followed by ink lines, so it is called "one stop." The Northern Song Dynasty Zhou Chun advocated that painting should also be "completed in one go" with calligraphy; "Calligraphy and painting are the same relation, and those who are good at calligraphy decay first and then write? However, the Grand Master of the Qing Dynasty believed: "Every person today thinks that he does not use a decaying pen, but in fact, the work of painting is clumsy, is it immortal?" ("Journey to the Creek and Mountain")
◇Powder book
Manuscript of ancient Chinese paintings with powdered samples. Wu Daozi of the Tang Dynasty once painted more than 300 miles of landscapes on the Jialing River in Datong Hall, which was completed in one day. Emperor Xuanzong asked him about it, and said, "The subject has no powder copy, and he keeps it in mind." "Yuan Dynasty Xia Wenyan's "Picture Painting Treasure Book": "The ancient painting manuscript is called a powder book." "There are two methods: First, use a needle to press the ink line of the drawing to pierce the small holes, pour the powder into the paper, silk or wall, and then paint according to the powder dot. The second is to paint the reverse side of the painting with chalk, earthen powder, etc., and use the hairpin to draw it on the paper, silk or wall according to the front ink line, and then drop the ink according to the powder marks. The latter extension is a title for general drawings.
◇ Sketches
Also known as "Song People Sketch". Chinese painting terminology. Speaking of the Buddhist scriptures, the Buddhists call the sample "big piece" and the simplified version "small piece". Chinese painting sketches flourished in the Song Dynasty, and Emperor Huizong Zhao Built the Longde Palace and ordered the screen wall in the Zhao Tu Palace, all of which were extremely popular choices. It is said that this is the ornament on the screen, there are squares and circles, and each screen is embedded with more than ten pictures. Round type of common fan embedded. It is said that it is a powder copy of the mural, although it is small, it is not careless. The Southern Dynasty Song Zong Bing said: "Three inches vertically, when the height of a thousand taels; horizontal ink is several feet, and the body is a hundred miles away." As Wang Wei of the Tang Dynasty said, "The map of the corpse is written for a hundred thousand miles." Others say it's the trim on the light sheets and window screens. The "Song Dynasty Sketches" painting also has the same characteristics of seeing the big in the small and timeless and alarming like the "Six Dynasties Sketches", which is the epitome of the painting art of the Song Dynasty.
◇ Copying
Chinese calligraphy and painting terminology. A means and process of learning calligraphy and painting. The preface to the Southern Dynasty Qi Sheikh's "Catalogue of Ancient Paintings" puts forward the "Six Laws", the sixth article is "transmission and transfer of mold writing", and Zhang Yanyuan of the Tang Dynasty said: "In ancient times, it was good to paint, and it was 78 out of ten, and it did not lose the traces of the divine color." The Northern Song Dynasty Huang Bosi's "Treatise on the Yu of Eastern Guan" believes that there is a strict difference between copying and imitation, "the two are very different, and they must not be chaotic." To say that pro is to write or paint according to the work of others, depending on their situation. Therefore, if the ancient painting is placed next to it, it is called "Linti"; if the ancient painting is placed next to it, it is called "Linpa" by imitating its pen color. Grotesque is a thin piece of paper (transparent paper) draped over other people's works, and it is picked up with its thickness. Later generations mostly contain these two meanings in the term "copying", and do not emphasize the difference between "copying" and "copying". At the end of the Ming Dynasty, Tang Zhiqi said: "Copying is the easiest, the spirit is rare, and it is true to copy it without learning its traces." Qing Dynasty Zheng Zhongguang said: "The painter has its form and charm, the scholar gets his intentions, and the position is unstable." "The meaning of the ancients is not necessarily limited to their traces, and Si is called a good copyer."
◇Calligraphy and painting are of the same origin
Chinese calligraphy and painting terminology. In the history of painting, the so-called "He Tuluo Book" of the pre-Qin Dynasty is the basis for the homology of calligraphy and painting, and Zhang Yanyuan of the Tang Dynasty said in "The Origin of Famous Paintings of Past Dynasties and Narrative Paintings", "The jaw has four eyes, looking up at the image." Because of the traces of the birds and turtles, the shape of the calligraphy was determined, and the creation could not hide its secrets, so it rained in the sky; the spirit monster could not hide its form, so the ghost cried at night. It is also the time, the calligraphy and painting are the same body and not divided, and the image system begins and is still slight. There is no way to convey its meaning, so there is a book; there is no way to see its form, so there is a painting. This is the earliest "calligraphy and painting homology" theory. The ancient text of "Yin Qi", its inter-system shelf, is both calligraphy and painting, and zheng Wuchang, a close friend, said that "it can be described as an era of mixed calligraphy and painting".
◇ Golden wrong knife
A technique of writing and painting. "Talking about Hui": "The Southern Tang Dynasty Li Hou Lord (Li Yu) is a good book, making a vibrating pen in the shape of a curved piece, and its vigor is like a cold pine frost bamboo, which is called a golden wrong knife." "Xuanhe Painting Notation": "Later the lord made a golden wrong knife painting, which is also refreshing and extraordinary, and the other is a grid method, and the later master's golden wrong book uses a three-stroke method, and in his later years it becomes a painting, so the trembling is like calligraphy." "According to the "Essential Records of the Book of Laws", there is also a golden wrong knife book. Li Yu's calligraphy and paintings no longer exist, and those who have been imitated by later generations, the "Picture Painting Treasure Book" and the "Eastern Tuyuan Dictionary" contain: "Sun Shangzi, good as a vibrating pen, seen in clothes, hands and feet, wooden leaves, rivers and streams, all like trembling." ”
◇Recognition
The inscription cast on the ancient Bell Ding Yi vessel. "Book of Han, Suburban Ancestral Zhixia": "Now that ding is small and has knowledge, it is not suitable for recommendation in the Zongmiao Temple." Yan Shigu's ancient note: "Paragraph, engraving also; knowledge, remember also." In addition, there are three sayings; -, the paragraph is the yin word recessed, and the recognition is the yang word protrusion. Second, the money is outside, and the knowledge is inside. Third, the pattern is the model, and the seal engraving is the knowledge. See tongya, vol. 33, cited. Later generations put titles and names on books and paintings, also known as "section recognition", "inscription" or "section title". On the painting, the Tang dynasty only hid the roots of the tree in small characters, and the book was not worked on the back of the paper, and by the Song Dynasty, the beginning of the year and month was only fine, and the book was not two lines. Only Su Shi has a line of letters, or three or five lines of words. Yuanren developed from the name of the money to the poetry inscription, with more than 100 words. To the Ming and Qing dynasties, the wind of inscriptions flourished and has not faded to this day.
◇ Inscription
The text written in front of books, calligraphy, paintings, inscriptions, etc. is called "title", and the text behind it is called "跋". The Qing Dynasty Duan Yujue's Commentary on the Interpretation of The Foot part of the text says: "The subject, mark its front, and the trekker is also after it." "Generally refers to the inscriptions on books, paintings, and books, and the content is titles, evaluations, examinations, notes, etc., and the genres include prose, poetry, and words. The Northern Song Dynasty Shen Kuo's Mengxi Pen Talks, volume 5: "Tang Zhaozong Xinghuazhou, composed three chapters of the Bodhisattva Man, and now this word ink is still in a Buddhist temple in Shaanzhou. Yu is over the year of Shaanxi, once seen, posterity inscriptions, Ying giant axis. Regarding the inscription on the canvas, the Qing Dynasty Wang's "Biography of the Mustard Garden Painting" said: "Before the Yuan Dynasty, there were many money, or hidden stone gaps, fearing that the book was not refined, there was a wound to the ear of the painting bureau, to Ni Yunlin's calligraphy, or to the end of the poem, or to the poem after the poem, Wenheng Mountain's clean section, Shen Shitian's brushwork spilled, Xu Wenchang's poetry was strange, Chen Baiyang's inscription was exquisite, every time he invaded the painting bit, he turned over many strange things", since the Yuan Dynasty, the inscription on the painting has become an artistic means to add poetic sentiment to Chinese painting works.
◇ Huang Tsuen school of painting
One of the genres of Chinese painting. It is a branch of the Five Generations flower and bird painting school, representing the painter Huang Xiao. After entering the Song Dynasty, the painting style continued for nearly a hundred years, when flower and bird paintings were all based on the "Huang family system". Guo Ruoxuan of the Northern Song Dynasty said in the "Picture Seeing and Hearing Zhi" when "on Huang and Xu Tiyi", "The Huang family is rich and noble, Xu Xiyeyi." He also pointed out that the paintings of the Yellow School are mostly forbidden to write rare birds and birds, strange flowers and strange stones, with a neat pen, and the color is magnificent. This school of painting, with a thin ink line hook out the outline, and then filled in color, the so-called "hook filling method". Later generations rated it as "hook and color, the purpose is rich".
◇ Xu Xi school
One of the genres of Chinese painting. It is a branch of the Five Generations Flower and Bird Painting School, representing the painter Xu Xi. Guo Ruoxuan of the Northern Song Dynasty said in the "Picture Seeing and Hearing Zhi" "On the Difference between Huang and Xu Body": "The Huang family is rich and noble, and Xu Xiye is yi. He also said: "Xu Xijiangnan virgin", "All the multi-shaped rivers and lakes, Tinghua wild bamboo, water birds and fish." This school is mostly thick and thick ink, slightly variegated, and the handwriting is not hidden, known as "falling ink flower". See also "Falling Ink".
◇Northern Landscape Painting School
One of the genres of Chinese painting. Chinese landscape painting to the beginning of the Northern Song Dynasty, began to be divided into the northern faction and the Jiangnan faction, Guo Ruoxuan's "Picture Seeing and Hearing Zhi" said: "Only Yingqiu Li Cheng, Chang'an Guan Tong, Huayuan Fankuan, wisdom into the gods, only higher than the class, three dingzhi, hundred generations of the standard. He also said: "Fu meteorological Xiao Yan, smoke forest clear, no sharp edge, ink method subtle, the system of the camp hill; stone body condensation, miscellaneous wood lush, Tai Ge quaint, character idle, Guan's wind also; the peaks are thick, the momentum is strong, the pen grabbing is uniform, the house is qualitative, and the works of Fan's family are also." "The painting style of Li, Guan, and Fan swept Qi and Lu, influenced Guan and Shaanxi, and was the grandmaster of the Northern Landscape Painting School."
◇ Southern Landscape Painting School
Also known as the "Jiangnan Landscape Painting School". One of the genres of Chinese painting. The Northern Song Dynasty Shen Kuo's "Mengxi Pen Talk" said: "Dong Yuan, Gong Qiulan's long-range view, write more about the true mountains of Jiangnan, not for the strange atmosphere; the Jianye monk Juran Zushu Dong Fa, all of them are perfect. Mi Fu's "History of Painting" also said: "Dong Yuan is plain and naïve, and Tang has no such product." This sect has Dong Yuan and Ju Ran as a generation of masters, and is known as "Dong Ju". Hui Chong and Zhao Lingyong's small scenery, for this faction tributary. The "Mipai Yun Mountain" of the father and son of Mi Fu paints the scenery around Jingkou, showing the new look of this school. At the end of the Southern Song Dynasty, Fachang (Muxi) and Ruofen (Yujian) belonged to the southern painting system and flourished in the Yuan Dynasty.
◇U.S. faction
One of the genres of Chinese painting. Refers to the paintings painted by the father and son of Mi Fu and Mi Youren in the Song Dynasty. In the history of painting, it is called "rice", "millet", or "two meters". Mi Fu tasted and Li Gonglin on ancient and modern landscapes, and there were few people who came out of the dust grid, because they wrote it by letter. He called himself "no Li Cheng, Guan Tong tacky". Traditional Chinese landscape painting, mostly with lines, uses the pen to form a block surface, called the "falling eggplant method", breaking the line stereotype. Its characteristics can express the smoke, rain, clouds, confusion and fantasy of the scene, the world is called "Mi's Cloud Mountain". Youren inherits and develops the family tradition, is good at painting rootless trees and hazy clouds, and each hi is self-titled "Yuanhui Drama Pen". Because both father and son live in Xiangyang and Zhenjiang, they are particularly intoxicated by the natural scenery of Xiao, Xiangershui and Jin and Jiaoershan, so they can paint the wonderful fun of steaming water and smoke. This school is a large freehand style, and the Southern Song Dynasty Muxi, the Yuan Dynasty Gao Kegong, Fang Congyi, etc. are all teachers, which have a great influence on later generations.
◇Huzhou bamboo pie
One of the genres of Chinese painting. The painting of Bamboo was originally the most famous of Xiao Yue and Ding Qian of the Tang Dynasty, but no trace of painting has been passed down. Northern Song Dynasty Wen Tong and Su Shi painted bamboo at the time. In the first year of Yuan Feng (1078), Wen Tong was ordered to serve as the Taishou of Huzhou (湖州, in present-day Wuxing, Zhejiang), but did not arrive at his post, and died of illness in Chen Prefecture (present-day Huaiyang, Henan); Su Wei took over as The Taishou of Huzhou and was imprisoned and degraded to Huangzhou. Although they are from Sichuan, they are said to be the ancestors of the "Huzhou Bamboo School" in the history of painting. Mi Fu discussed: Wen and Su painting bamboo characteristics: "with thick ink as the face, light ink as the back." "In the Yuan Dynasty, Li Yan, Zhao Meng, Gao Kegong, Wu Zhen, Ke Jiusi, etc., were all inheritors of the Huzhou Bamboo Sect and had a great influence on future generations. In the Ming Dynasty, Lian Ru wrote a volume of "Huzhou Bamboo School", which was composed of twenty-five people, which was compiled from the "History of Painting", "Painting Succession", "Picture Painting Treasure Book" and other books.
◇Changzhou School of Painting
It is also known as the "Biling School" and "Wujin School". One of the schools of Chinese painting, Biling and Wujin are ancient place names in Changzhou, Jiangsu Province. It began in the Northern Song Dynasty, the Southern Song Dynasty in Qingyan, the Yuan Dynasty in Wudao, the Ming Dynasty Sun Long, the Qing Dynasty Tang Yuguang, Yun Shouping, all of which belong to it. Zu shu Xu Chongsi and Zhao Chang's boneless method, with grass worms and flower sketches as the victory. According to mei Yaochen (1002-1060) poem: "Ning Gongshi divinely entrusted, sitting and making the crowd prostrate." "The Guning grass worm seems to belong to the Zen forest ink play all the way. Sun Long was influenced by it. The paintings of Yu's ancestors and grandchildren have also been lost, and the Japanese Zhi'en Temple has a southern Song Dynasty Yu Ziming's "Lotus Flower Diagram", with the seal of "Biling Yuzi", or the work of Qingyan. Yun Shouping and Tang Yu Guangshi originated from the Yu clan. Yun Shouping tasted: "Yu and Tang Pishi (Yu Guangzhi) studied and sketched, every time Huang Xiao was too beautiful, Zhao Chang did not take off the portrayal, Xu Xi had no path to get, and it was difficult to take the rule." "Yun and Tang flower sketches, more ethereal feelings, is the successor of Xu Chongsi's boneless method, known as the "Yun Sect", which has a great influence on future generations.
◇ Biling School
That is, the "Changzhou School of Painting".
◇ Wujin school of painting
◇ Wumen School of Painting
Abbreviated as "Wumen Sect". One of the genres of Chinese painting. Shen Zhou of the Ming Dynasty and his student Wen Zhengming, painting landscapes advocating the Northern Song Dynasty and the Yuan Dynasty, different from the Zhejiang school style of taking the Southern Song Dynasty, prevailed in the middle of the Ming Dynasty, from the scholars are very numerous, the famous ones are Wen Boren, Wen Jia, Chen Daofu, Wang Yuxiang, Lu Zhi, Qian Yu, etc., they are all from Suzhou Province, Suzhou alias "Wumen", because of the name. At that time, it occupied an important position in the painting world.
◇ Wu Pai
One of the genres of Chinese painting. Representative schools of painting in the middle and late Ming Dynasty. In the middle of the Ming Dynasty, the painting world was headed by the "Wumen School", and in the late period, the "Songjiang School" was respected. Songjiang originally belonged to Wudi, and later generations jointly called the two factions "Wu faction". It is popular in the Taihu Lake Basin. Representative painters include Dong Qichang, Chen Jiru, Zhou Tianqiu, Mo Shilong, Li Rihua, Xiang Shengmo, Bian Wenyu, etc., and Dong and Chen are the backbone of this school.
-Matsue Gaha
Referred to as "Matsue School". One of the genres of Chinese painting. The general term for the three schools of landscape painting under the songjiang fuzhi (now part of Shanghai) in the late Ming Dynasty. One was led by Zhao Zuo, called the "SuSong School"; the second was led by Shen Shichong, called the "Yunjian School"; the third was Gu Zhengyi and his sons and nephews, called the "Huating School". Among them, the "Su Song Sect" and the "Yunjian Sect" both originated from Song Xu, and Zhao Zuo and Song Maojin were the same teachers as Song Xu. Shen Shichong was trained by Song Maojin and zhao zuo. These painters, except for Song Xu, are all from Songjiang Province, and their styles have influenced each other, so they are collectively called "Songjiang School". At that time, Dong Qichang's calligraphy and paintings were the ancestors of the time; together with Chen Jiru, they were called in the world.
◇ Su Song school
See "Matsue School".
◇ Huating School
◇Cloud Painting School
◇Zhejiang School of Painting
Referred to as "Zhejiang Pai". One of the genres of Chinese painting. Ming Dynasty painter Dai Jin, Qiantang (now Hangzhou, Zhejiang) people, landscapes, figures to take the Southern Song Dynasty painting academy physique, from many scholars, famous are Wu Wei, Zhang Lu, Xia Zhi and so on. Li Zai, who was once the same as Dai Jin, also had similar styles. It is known as the Zhejiang school. Later, Jiang Song came out, specializing in scorched ink dry pens, and the dot dyeing was rough. Later, although Lan Ying's painting style was different from Dai Jin's, he was usually listed as a "Zhejiang Sect" palace army. Wu Wei, Zhang Lu, etc., also known as the "Jiangxia School", belong to the tributaries of the "Zhejiang School".
◇ Zhejiang pie
That is, the "Zhejiang School".
◇ Xin'an School of Painting
One of the genres of Chinese painting. Taking the late Ming and early Qing dynasties as the first path, together with Zha Shibiao, Sun Yi and Wang Zhirui, they were collectively known as the "Four Greats of the Xin'an Sect". Wanjiang was a native of SheXian County, Andzha Shibiao, Sun Yi, and Wang Zhirui were Xiuning people, and the two counties belonged to huizhou prefecture, and during the Jin and Tang dynasties, they belonged to Xin'an County, hence the name. Also known as the "Four Houses of Haiyang", "Haiyang" was really named "Xiuyang", the Three Kingdoms of Wu, to avoid the secret of changing to "Haiyang", in the present-day Xiuning County, Anhui Province, the eastern thirteen miles. The characteristics of the four families are patriarchal Ni Zhan and Huang Gongwang, who sketch the scenery of the pine stone of the Huangshan Mountains and the Sea of Clouds, with little ink, and the pen is firm and simple. Those who belong to this school still have Cheng Yi, Dai Benxiao, and Zheng Min, with a style of Shen Yu Canggu and a modern Huang Binhong teacher. The teachers of gradually jiang were Jiang Zhu, Wu Ding, Yao Song, and Zhu Chang, who were known as the "four great disciples" of gradually jiang.
◇ Huangshan School of Painting
One of the genres of Chinese painting. Taking the Mei family of Xuancheng (now part of Anhui) as their concubines in the early Qing Dynasty, Mei Qing, Mei Chong, Mei Geng, Mei Wei, and Shi Tao, who lived in Xuancheng, were all painters who had been deeply involved in Huangshan for a long time, and had both learned from the ancients. The Xin'an School of Painting was mainly from Huangshan, so some people advocated being included in the Huangshan School, but the styles were different, just as Wanjiang and Cheng Yi had their own characteristics.
◇ Yushan School
Referred to as the "Yushan Sect". One of the genres of Chinese painting. The Qing Dynasty landscape painter Wang Yi successively studied under Wang Jian and Wang Shimin, and took the Fa Song and Yuan families, and his paintings were famous in the Shengzu Kangxi (1661-1722), and the main students were Yang Jin, Gu Fang, Li Shizuo, Shangrui, and Hu Jie. Jin Xuejian and others, Yi is a jiangsu Changshu person, Changshu has Yushan, because it is known as the "Yushan Painting School". Its sublime imitation fashion has a great influence.
◇ Lou Dong school of painting
Referred to as "Lou DongPai". One is called "Taicang Faction". One of the genres of Chinese painting. The Qing Dynasty landscape painter Wang Yuanqi, following his grandfather Wang Shimin's family law and imitating the Huang Gongwang method, was heavily known as shengzu Kangxi (1661-1722), and for a time there were many teachers, including his brother Wang Yu and nephew Wang Yu, his disciples Huang Ding, Wang Jingming, Jin Yongxi, Li Weixian, Cao Peiyuan, Hua Kun, Wen Yi, Tang Dai, etc.; followed by great-grandson Wang Chen, his nephew Wang Sanxi, as well as Sheng Dashi, Huang Jun, Wang Xuehao, and so on. The Lou River (i.e., liuhe river) flows east through Taicang, so it is called "Lou Dong School" This school of painting is a lofty and conservative painting style, which relies on the "Yushan School" and has a great influence on future generations.
◇ Jiangxi School of Painting
Referred to as "Jiangxi School". One of the genres of Chinese painting. Represented by the early Qing Dynasty painter Luo Mu. Luo Mu was a native of Ningdu (present-day Jiangxi), living in Nanchang (now part of Jiangxi), painting landscapes and rivers was first taught by Wei Shibed, and later learned Huang Gongwang, with ethereal brushwork, and was quite learned in the Jianghuai region.
◇ Maritime painting school
Referred to as "Haipai". One of the genres of Chinese painting. After the Opium War, Shanghai was turned into a commercial port, and the flow of painters from all over the world lived in Shanghai, becoming the center of painting activities, known as the "Hai School". Its characteristics: on the basis of tradition, it can break through the rules and innovation, the genre is free, the personality is distinct; the cultivation of heavy character; it is related to folk art, and it can achieve the common appreciation of elegance and customs; it is good at drawing on and absorbing foreign art; and the painting club rises and becomes a common practice. Representative painters include Zhao Zhiqian, Xu Gu, Ren Yi, Wu Changshuo and Huang Binhong. There are also Ren Xiong, Pu Hua, Hu Gongshou, Zhang Xiong, Wu Youru, Cheng Zhang, Wu Qingyun, Ren Xuan, Qian Hui'an, Sha Fu, Huangshan Shou Ni Mogeng, Zhao Ziyun, Wang Yiting, Feng Chaoran, Zheng Wuchang and so on. There are more than seven hundred people recorded in the Merlin on the Sea.
◇Lingnan School
Referred to as "Lingnan School". One of the genres of Chinese painting. Guangdong is located in the south of the Five Ridges, since the Ming and Qing dynasties, there have been no less than a thousand painters. The famous Ming Dynasty has Lin Liang, who is good at ink freehand flower and bird painting, pen and ink is simple and strong, bold and spicy, and the painting style in the Kailing area. The patriarchs are Gao Yu (landscape painting) and Chen Rui (flower and bird painting); Li Jian and Li Kui have followed suit, focusing on depicting the characteristics of guangdong's mountains and rivers, the former being cangrun like Wu Zhen and faint and distant near Ni Zhan, and the latter being a painter and skilled. Between The Qianlong Dynasty (1736-1795), there are Su Liupeng and Su Changchun, good characters, liupeng with people's lives and city customs as the theme, although Changchun often paints gods and buddhas, but with the southern mortals as models. At the end of the Qing Dynasty, there were ju nests, julian, good flowers, birds, insects and fish, and learned to Yun Shouping. The modern Panyu Gao Jianfu, Gao Qifeng, and Chen Shuren all taught in their early years. Gao brothers and Chen Shuren studied in Japan, studied painting art, introduced Western painting techniques, the subject matter of the work is mostly written about southern Chinese customs, on the basis of the use of traditional Chinese painting techniques, the integration of Japanese southern painting and Western painting methods, pay attention to sketching, the creation of a bright color, full of water, blend soft and uniform modern Lingnan school of painting new style.
◇Drawing score
Catalogues or illustrations of Chinese paintings. In the Northern Song Dynasty Xuanhe, there is the "Yihe Painting Spectrum", which was originally a catalogue of famous paintings of the past dynasties hidden by the inner court of Emperor Huizong of the Song Dynasty, and the pictures can be downloaded. But the name "notation" is what it is. The Southern Song Dynasty Song Boren compiled the "Plum Blossom Joy God Spectrum" is a catalogue of plum blossoms from the buds of flowers to the withered plum blossoms. Detailed Records of Bamboo Notations by Li Yan in the Yuan Dynasty. There are pictures and texts, mainly introducing the painting method of bamboo. Since the Ming and Qing dynasties, most of the woodcuts have not produced the above two categories. For example, the catalogue includes "Famous Paintings of Past Dynasties", "Paintings of Evening Laughter Hall", "Paintings of Tang Poetry", "Shiyutang Notations", "Ten Bamboo Zhai Painting Notations", etc., and the illustrations of painting methods include "Tuhua Zongyi", "Gaosong Bamboo Notation", "Snow Lake Plum Spectrum", "Mustard Garden Painting Biography" and so on. There are still painting treatises and famous painting notations, such as the "Tang Liu Ru Painting Notation" written by Tang Yin in the Ming Dynasty, the "PeiWenzhai Calligraphy and Painting Notation" compiled by Qing Kangxijian, and the "Painting Notation" (that is, "Quotations of the Bitter Claw Monk Paintings") written by Yuan Ji (Shi Tao), which are often named "Painting Notation".
◇Decoration
That is, "mounting". Ancient calligraphy and paintings used yellow paper (paper dyed with yellow tiller juice) for socks, hence the name. "Tang Liudian": "There are five decorators in the Chongwen Museum, and there are ten decorators in the secretarial province." There are also "Huang" as a pool solution, because the edges of the calligraphy and painting are inlaid with Aya brocade, which itself is like a circled pool, hence the name. Tongya Instrument use: "Huang, Yu chi also, plus the edge of the inner pool, packed into a volume, called 'decoration', that is, 'table back' also." See also "Mounting".
◇Mounting
Mounting, one as "table", or as "pants". Also known as "decoration", "loading pool", "loading treatment", "loading back", "loading", "mounting", "huangzhi". A special skill of Chinese back mounting and decorating calligraphy, paintings, inscriptions, etc. Zhang Yanyuan of the Tang Dynasty is recorded in the Records of Famous Paintings of Past Dynasties. "Since the Jin Dynasty, the back is not good. Song Shi Fan Ye was able to carry his back. "Between The Eastern Jin Dynasty and Emperor Long'an and Yuan Xing (397-404), the skills gradually matured. Emperor Wu of Song edited books by Xu Ai, Emperor Ming Shi Yu he, Chao Shangzhi, Xu Xixiu, and Sun Benbo. Emperor Wu of Liang ordered Zhu Yi, Xu Shengquan, Tang Huaichong, Yao Huaizhen, Shen Chiwen, and others to "add "armor protection" to the books of the former dynasty. The preface to the New Book of Tang Dynasty And Art refers to the early Tang Dynasty Zhenguanjian, which attaches importance to mounting: "The four libraries of the Book of Columns, History, Zi, and Ji, the original of which have both positive and negative. The axle belts are all different colors. The Song Dynasty's elaborate "Qi Dongye" said: "The method of loading the shafts in the four libraries is extremely magnificent." He also said: "Its decoration and tailoring, each with its own scale, printed with titles, has a formal form." "Since the Ming and Qing dynasties, the mounting technique has improved. Most of the framed pieces are covered with paper on the back, the hanging shaft is added with the head and border of the earth and earth with aya, silk or paper, the hand roll has a foreskin, the front has a lead, there is a water barrier, the rear has a tail, and each is installed with a shaft rod; the album is inlaid with a border, the front and back have a sub-page, and the upper and lower board surfaces are added. Painting. Once the inscription is framed, it increases the artistic effect, is easy to see and collect, and the broken things can be repaired and completed. In the third volume of Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties" in the Tang Dynasty, there is a "Treatise on the Loading of the Back Shaft"; the Ming Dynasty Zhou Jiaxuan's "Decoration Chronicle" and the Qing Dynasty Tuesday Study "Appreciation of Yan Su Xinlu", both of which are monographs on mounting.
◇Pool loading
See "Decoration", "Mounting".
◇Framed
Also known as "table back", "loading back". That is, "mounting". Ming Zhou Jia ji "Decoration Chronicle. Mounting the Thirteen Branches": "The Book of Quitting Cultivation has thirteen branches in the cloud' and thirteen families on the back of the table. ”
◇ Vertical shaft
A style of Chinese painting and calligraphy mounting. In the middle, it is called "painting heart" (a "painting body", also known as "Ruizi"), called "Tiantou" on the top, and "ground foot" below) and "separated by water". The framed size is large and small, and the frame of more than four feet is called "large axis", commonly known as "middle hall", and the extra-large one is called "lobby" or "large middle hall", and the picture frame below three feet is called "vertical axis". There are three kinds of Aya (or color paper) mounting in three colors, two colors, and one color. There are also silk mounts. Top-mounted sky pole, bottom-mounted shaft. Some Tiantou stickers "Shocking Swallow Belt" (a "Silk Ribbon"), which was popular during the Northern Song Dynasty's Xuanhe Dynasty and was followed later. At the beginning, the "shock swallow belt" is not solid, can flutter, and then it is pasted, purely for the decoration of plutonium. The upper and lower ends of the "painting heart" can be inlaid with brocade strips, called "brocade eyebrows", also known as "brocade teeth".
◇ Nakado
A style of Chinese calligraphy and painting mounting, detailed "vertical axis".
◇Large shaft
A style of Chinese painting and calligraphy mounting. Detailed "vertical axis".
◇ Screen strip
A style of Chinese calligraphy and painting mounting, because the painting body is narrow and long, it is four feet or five feet of rice paper, so it can be mounted in the form of a screen strip. The screen strips hung separately are called "strip screens" (screen strips), and the four strips hanging side by side are called "hall screens" or "four seasons (spring, summer, autumn, winter) screens". There are also four or more to twelve or even sixteen pictures, closely linked to each other, into a double number of complete pictures, called "Tongjing Screen" or "Tongjing Screen". Also known as the "mantle".
◇ Mantle
Also known as the "sea curtain". This is the "General View Screen". Details "Screen Bar".
◇ Horizontal drape
A style of Chinese painting and calligraphy mounting. The center of the painting is vertically short and long, the left and right sides are called "ears", the same size, and a pair of symmetrical wooden poles, with a bag head on the back of the abdomen and affixed with a sign.
◇ Pairing width
A style of Chinese painting and calligraphy mounting. Usually two paintings are hung in pairs. For example, calligraphy is called "character pair", or "couplet". Ming and Qing paintings, there are so-called "painting pairs", two screen strips of equal size, hanging method and "word pairs" the same. There are also triptychs, with vertical axes in the middle of the amplitude, such as the Southern Song Dynasty law often has "Ape, Guanyin, Crane" triptych. Usually, the hall is in the middle, and a large painting of the middle hall is hung in the middle, and the two sides are hung with word pairs. According to legend, the Ming Dynasty collector XiangZi Jingjia, "the middle hall is calligraphy, and the paintings on both sides are paired", which is a special format. Another woodblock new year painting door god, two doors each pasted a picture, also known as "right frame".
◇ Bucket side
A style of Chinese painting and calligraphy. Usually there are more squares. Eight or twelve opens of four-foot rice paper vary in size.
◇ Album
A style of Chinese painting and calligraphy mounting. Because the painting is not large, it is also called "sketch". There are squares, but also rectangular vertical or horizontal shapes. There are three types: push-up type, butterfly type, and warp fold type. There are also framed monoliths, called "bulk". Generally, albums are taken in even numbers, ranging from four, eight, and ten to twelve, sixteen, and twenty-four. The album is bordered with a border, a sub-page is added front and back, and a board surface is added up and down. It is more convenient to appreciate, carry and preserve.
◇ Bulk
A style of Chinese painting and calligraphy mounting. Details "Album".
◇ Hand rolls
Also known as "long roll", "picture volume". A style of Chinese painting and calligraphy mounting.
Famous paintings of past dynasties, such as the Northern Song Dynasty King Xi Meng's "Map of a Thousand Miles of Rivers and Mountains", Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty", and The Yuan Dynasty Huang Gongwang's "Map of Fuchun Mountain Residence", etc., are all hand-framed. There is "Bao Shou" on the outside, "Introduction" in front, and there are works in it, and what is closely connected to both sides of it is "Water Gap", and then there is "Tail", and "Bao Shou" is pasted with "Inscription".
◇ Introduction
The status of the blank paper left on the framed hand scrolls of Chinese paintings and calligraphy. You can write on it. Because it is first seen when opening the volume, it is called. See "Hand scrolls".
◇ Poetry Pond
The position left above the mounting of the vertical shaft of Chinese paintings. Because the body of the painting is square, or too wide and too small, the mounting is an axis, and the shaft length is short and unbalanced, so a blank paper square is embedded in the body of the painting, which is used for inscription, which is called "poetry pond". See "Vertical Axis".
◇ Tailing
The status of the blank paper left on the framed hand scrolls of Chinese paintings and calligraphy. You can write a poem on it. Because it is not seen until the end of the opening volume, it is called. See "Hand scrolls".
◇ Six dynasties and four houses
The Six Dynasties refer to the Three Kingdoms of Eastern Wu, Eastern Jin, and Southern Dynasties of the Song, Qi, Liang, and Chen, all with Jiankang (Wu name Jianye, present-day Nanjing, Jiangsu) as their capital. The four families, in the history of painting, refer to the Eastern Wu Cao Buxing, the Eastern Jin Dynasty Gu Kaizhi, the Southern Dynasty Song Lu Tanwei, and the Southern Dynasty Liang Zhang Monk. Zhang Huaihuan of the Tang Dynasty commented on the Paintings of the Six Dynasties: "Zhang (monk) gets his flesh, Lu (Tanwei) gets his bones, and Gu (Kaizhi) gets his gods." "Paintings of the Six Dynasties are rare, especially the traces of Cao Buxing. Tang Hou of the Yuan Dynasty believes that a volume of Cao Buxing's "Soldier Rune Map" is "brilliant in penmanship, suspected to be the work of the late Tang and early Song dynasties".
◇ Four houses of the Southern Song Dynasty
The Southern Song Dynasty landscape painters Li Tang, Liu Songnian, Ma Yuan, and Xia Gui are collectively known. It is a simple and simple painting style. In the beginning, Tang Hou of the Yuan Dynasty said: "Those who have been named by the Southern Song Dynasty painting academy, if Li Tang, Zhou Zeng, Ma Yuan, Xia Gui, Li Di, Li Anzhong, Lou Guan, and Liang Kai are the disciples of Li Tang, the servants are appreciated by Li Tang, and the rest cannot be separated." The advocate of this theory is the Ming Dynasty Tang Yin titled Liu Songnian's "Spring Mountain Immortal Hidden Map", which is known as "Li, Liu, Ma, xia". Later, Tu Long said: "Li Tang, Liu Songnian, Ma Yuan, Xia Gui, the four people after this southern crossing." Zhang Qiu believes: "Liu Songnian of the Southern Song Dynasty was the crown, followed by Li Tang, Ma Yuan, and Xia Gui. Zhang Taijie said: "Liu, Li, Ma, and Xia are all burdened with heavy names, while Li and Ma are the most." ”
◇ Yuan Sijia
The four representatives of landscape painting in the Yuan Dynasty are collectively called painters. There are two main theories: One refers to Zhao Meng, Wu Zhen, Huang Gongwang, and Wang Meng, see Wang Shizhen's "Yiyuan Yiyan Appendix" of the Ming Dynasty. The second refers to the four people of Huang Gongwang, Wang Meng, Ni Zhan, and Wu Zhen, see Dong Qichang's "Rongtai Beiji Painting Purpose" of the Ming Dynasty. The second is that the popularity is wider. There are also Zhao Meng, Gao Kegong, Huang Gongwang, Wu Zhen, Ni Zhan, and Wang Meng collectively referred to as the "Yuan Liujia". Although the painting style has its own characteristics, but mainly from the five generations of Dong Yuan, the Northern Song Dynasty Juran on the basis of the development, heavy ink, still interesting, and combined with calligraphy and poetry, is the mainstream of landscape painting in the Yuan Dynasty, the Ming and Qing dynasties have a great influence.
◇ Yuan Liujia
In the Yuan Dynasty, Zhao Meng, Gao Kegong, Huang Gongwang, Wu Zhen, Ni Zhan, and Wang Meng were collectively known. See "Yuan Si Jia".
◇ North and South Sects
In the Ming Dynasty, Dong Qichang said that landscape painters were divided into two factions, north and south. "Rongtai Beiji Painting Purpose": "The Zen family has two sects of north and south, which are divided into tang times; the two sects of painting are also tang times, but their people are not north and south ears." Northern Emperor Li Sixun's father and son colored the landscape, which was passed down to the Song Dynasty's Zhao Hui, Zhao Boju, (Zhao) Boxiao, and even the Ma (Yuan) and Xia (Gui) generations; Nanzong Ze Wang Mojie (Wei) began to use the method of lightening and changing the hook and slash, which was passed down as Zhang Xuan, Jing (Hao), Guan (Tong), Dong (Yuan), Ju (Ran), Guo Zhongshu, Mi Jia Father (芾, Youren), and even the four yuan (Huang Gongwang, Wu Zhen, Ni Zhen, Wang Meng), and just like the Six Ancestors (i.e., Huineng), there were MaJu, Yunmen, and Linji's children's grandeur. And Beizong (represented by Shenxiu) is slightly. Youyun: "The paintings of the literati began with Wang Youcheng (Wei), followed by Dong Yuan, JuRan, Li Cheng, and Fan Kuan as concubines, and RuoMa, Xia, Li Tang, and Liu Songnian were also the faction of General Li, not Wu Cao Dang. This statement is not entirely consistent with the historical facts of the evolution of landscape painters, and has the meaning of revering "south" and devaluing "north". Chen Jiru of the Ming Dynasty (then known as "Dong Chen" with Dong Qichang) said it particularly clearly: "Li Pai was thin and lacked morale; Wang Pai was vain and Xiao Shan." At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the painting circles rose up in agreement, forming the view that "Nanzong" was "orthodox".
◇ Ming Sijia
In the middle of the Ming Dynasty, Shen Zhou, Wen Zhengming, Tang Yin, and Qiu Ying were collectively known. There was a mentorship relationship between them, and their painting skills had their own stylistic characteristics, which had a great influence on future generations. Shen and Wen painting styles are closer. Later, it developed into the Wumen sect. In the Ming Dynasty, there was Dai Jin, in the middle period there were Lin Liang, Wu Wei, Lü Ji, and in the later period, there were Chen Hongshou, etc., Shen, Wen, Tang, and Qiu could not represent the entire Ming Dynasty.
◇Nine friends in the painting
The collective name of nine painters in the late Ming and early Qing dynasties, including Dong Qichang, Yang Wencong, Cheng Jiaxuan, Zhang Xuezeng, Bian Wenyu, Shao Mi, Li Liufang, Wang Shimin, and Wang Jian. See Wu Weiye's "Song of Nine Friends in painting" by Wu Weiye in the early Qing Dynasty.
◇ Eight houses in Jinling
The collective name of Gong Xian, Fan Qi, Gao Cen, Zou Zhe, Wu Hong, Ye Xin, Hu Yu, and Xie Sun in the late Ming and early Qing dynasties. Their paintings have different themes and styles, and because they lived in Jinling (present-day Nanjing, Jiangsu), they all had a certain reputation (Gong Xian's most famous), so they were called. See Zhang Geng's "Records of Paintings of the National Dynasty" of the Qing Dynasty. It also refers to Chen Zhuo, Wu Hong, Fan Xi, Zou Zhe, Cai Lincheng, Li Youli, Wu Dan, and Gao Cen as the "Eight Houses of Jinling", see Qianlong's "Shangyuan County Chronicle". But more than before said to prevail.
◇ QingLiujia
In the early Qing Dynasty, landscape painters Wang Shimin, Wang Jian, Wang Fei, Wang Yuanqi, Wu Li, and Yun Shouping were collectively known. Also known as "Four Kings, Wu, Yun". They enjoyed a high reputation after Dong Qichang in the Ming Dynasty, leading the painting world, left and right, and were regarded as "orthodox" at that time.
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