"Bamboo rods to fish for Ki." Isn't it? Far from it. The spring source is on the left, and the water is on the right. The woman has a line, far from brothers and parents. ”
—— In the earliest collection of poetry in the mainland, the Book of Poetry, the description of "bamboo" has appeared. This verse is from the Book of Verses. Wei Feng. Bamboo Pole".
A Weiguo girl who married far away from home recalled the happy time with her friends fishing in the Ki water with a slender bamboo pole, and began to miss her brothers and parents.
The "bamboo pole" is the first impression of this patriotic girl recalling her hometown, and it is also the poet's first close-up shot of us.
However, in the poetry that followed, the prop was never seen again.
In the Book of Poetry, another poem, Xiao Ya. Si Gan" also appeared in the figure of bamboo, which mentioned at the beginning of the "such as bamboo buds, such as pine Maoyi." Among them, the bud is the meaning of growing luxuriantly, which is a congratulatory message to congratulate the completion of the palace of the zhou dynasty nobles, and after that, people also borrowed a poetic meaning to congratulate the completion of the new house, so there was the idiom of bamboo bud songmao.
Although it has been photographed several times, in the history of Chinese literature in the pre-Qin Dynasty, Bamboo has not been able to get rid of his role of playing soy sauce.
Qu Yuan, a Chu person living in the Xiaoxiang Dongting generation, should have seen a lot of bamboo.
In the Xiangfei Temple on the east side of Dongtingjun Mountain, there are Xiang Concubines, who are shun's two concubines, Emperor E and Lady Ying, and legend has it that thirty-nine years after Shun ascended the throne, he collapsed in the wilderness of Cangwu during his southern journey. When Emperor E and the second concubine of the empress dowager heard the news, they chased them to the Dongting Junshan Mountain, and they cried bitterly and spilled tears on the bamboo forest, leaving their stained tear marks on the bamboo knots, so there was "Xiangfei Bamboo".
This rumor should not have prevailed in Qu Yuan's time. In Qu Yuan's masterpiece "Leaving sorrow", there are as many as 10 depictions of "Lan", but bamboo is not mentioned once.
In Qu Yuan's Nine Songs, "Lady Xiang", among the various plants represented by orchids, there is actually no bamboo figure.
However, in the "Mountain Ghost" in the Nine Songs, qu Yuan gave Bamboo an opportunity to play a background, the protagonist of this poem: a mountain god, complaining about his environment and fate: "The rest of the hedge will not see the sky, and the road will be difficult to get alone." ”
Meaning: I live in the deep bamboo forest all year round without seeing the light of day, the road is difficult, and it is late to travel alone.
Part of Zhang Wo's "Nine Song Diagrams" Yuan Dynasty Shanghai Museum Collection
About five centuries after Qu Yuan, in the Nineteen Ancient Poems, written in the late Eastern Han Dynasty, the poets finally gave bamboo again, a positive close-up.
Ran Ran lonely bamboo, root Tarzan A (ē).
Newly married to Jun, rabbit silk attached to the daughter Luo.
Rabbit silk is born sometimes, couples will have a good time.
Thousands of miles away from the marriage, leisurely across the mountain (pō).
This ancient poem of the Han Dynasty, "Ran Ran Lonely Bamboo", borrowed from a woman's mouth, compared herself to a lonely bamboo growing in the wilderness, hoping to find a reliable partner as soon as possible and express her grievances.
The bamboo we are concerned about, this time is a breath of contention. Later writers and artists, although they included bamboo in the social aesthetic category, did not give it an independent aesthetic status.
After more than a hundred years, Wang Xizhi of the Eastern Jin Dynasty, in the ninth year of Yonghe, that is, in 353 AD, on the third day of the third month of the lunar calendar, together with Xie An, Sun Qi and 41 others, repaired in Shaoxing Lanting, which is the most famous sub-Lanting Collection in the history of Chinese literature and calligraphy.
Wang Xizhi's "Preface to the Orchid Pavilion" written for this collection was praised by posterity as "the first line of the book under the heavens".
"In the ninth year of Yonghe, at the beginning of the late spring, he will be in the Orchid Pavilion of Huiji Shanyin and repair the zen affairs. The group of talents is complete, and the little is salty. Here there are lofty mountains and mountains, lush forests and bamboo; and there are clear streams of turbulence, reflecting the left and right, leading to the flow of curved water, sitting second. Although there is no grandeur of the silk bamboo orchestra, a glance and a chant are enough to tell the story. ”
At the beginning of the preface, Wang Xizhi introduced the time, environment and personnel of the repair. Among them, "bamboo" is mentioned twice, one is "lofty mountains, lush forests repair bamboo", and the other is "silk bamboo orchestra", he did not consciously give special care to "bamboo" from the overall environment, and for the musical instrument made by "bamboo", the silk bamboo orchestra, it only emphasized its practical and functional value.
In Wang Xizhi's eyes, bamboo still has not gotten rid of the embarrassing role of acting as a stage background in the artwork.
In the previous episode, we analyzed several characteristics of Chinese society at the cultural and ideological level from the time of Wang Xizhi to the Sui and Tang dynasties.
Corresponding to the creation of painting, it is also manifested in the following characteristics:
The first is the introduction of Buddhism from abroad, the prosperity of local metaphysics, and eventually the fusion of foreign painting forms with the local to form a Taoist figure painting with Chinese characteristics;
Secondly, Chinese landscape painting gradually became independent from other painting genres and became a popular painting discipline, gradually forming a unique Chinese "landscape" aesthetic.
The public opinion that gave landscape painting an independent status should have been the Pure Land Sect master Hui Yuan in the Eastern Jin Dynasty, who was about 30 years younger than Wang Xizhi. Hui Yuan and his disciples worked together to create the aesthetic concept of "landscape and water", especially reflected in Hui Yuan's disciple Zong Bing, in an article written by Hui Yuan's disciple Zong Bing, who put forward the view of "Cheng Huai Guan Dao, Lying down and swimming", giving later Generations of Chinese painters a conscious awareness of landscape, which can be said to be a "declaration of independence on landscape painting." ”
While Daoshi figure painting and landscape painting were flourishing and developing, flower and bird paintings were gradually maturing. But painters of this period, like the poets, seemed to prefer hibiscus, peonies, and turquoise, which were full, thick, and solemn objects, and did not pay enough attention to the slender, knotted, and sparse bamboo.
Judging from the limited number of paintings that have been handed down so far, there are not only ink bamboo, but even the bamboo that outlines the color.
Bamboo in paintings, similar to the fate of bamboo in literary works, has long been hidden in the background of various figure paintings, landscape paintings, flowers and birds, and plays the role of an optional dragon running set.
At that time, the painters depicted bamboo in order to add background to some figures and Taoist themes. According to the Tang Dynasty Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties" and Zhu Jingxuan's "Records of Famous Paintings of the Tang Dynasty", from Wei Jin to Sheng Tang, among the popular Taoist character themes, bamboo is often painted as a background. For example, the Tang Dynasty Zhou Fang once painted the Water Moon View Bodhisattva, the Obstacle Mask Bodhisattva, the Round Light and the Bamboo on the Southeast Courtyard of the Shengguang Temple in Xijing.
Although it rarely appears independently, bamboo is not completely snubbed, it is often mixed and combined with other themes, common ones are "bamboo, bamboo chicken, flower bamboo, crane bamboo, bamboo tree, bamboo tree, bamboo stone" and so on.
It was not until the time of the Southern and Northern Dynasties that two paintings with bamboo as the theme of creation were recorded for the first time in the history of painting.
Zhang Yanyuan's record of Gu Jingxiu, a painter during the Southern Dynasty and Emperor Wu of the Song Dynasty, mentioned for the first time two such works- "Wang Xianzhi Bamboo Diagram" and "Tree Mixed Bamboo Huaixiang Diagram". Although we do not know the content and style of his paintings, we can roughly feel that the attention of Chinese painters to the theme of "bamboo" should have begun from the Southern and Northern Dynasties period, or even earlier.
The year of Gu Jingxiu's birth and death is unknown, but he was enshrined in the Southern Dynasty during the reign of Emperor Wu of Song to Emperor Xiaowu of Song, that is, from 420 to 464 AD. Gu's activities should have preceded lu tanwei, another of the more famous painters at the time, who died around 485 AD.
Also as a court painter during the Southern Dynasty and Song Dynasty, Lu Tanwei's reputation was much louder.
In the history of Chinese painting, Lu Tanwei has several achievements worth mentioning, one of which is that he began to formally enter the painting with calligraphic brushwork. He learned From Zhang Zhi's method of founding cursive writing and created a stroke of painting, which is said to be endless. In addition, the Southern Dynasty sheikh (about 479-502), who was a generation later than him, put forward the "six laws" standard in the "Catalogue of Ancient Paintings", which became the standard for later generations to evaluate painting skills, and Sheikh believed that among the previous painters, only lu tanwei and Wei Xie had six works at the same time, and listed them as the first of the first product, which shows its respect.
In the era of Zhang Yanyuan of the Tang Dynasty, Lu Tanwei's paintings should still be seen, and he recorded more than 60 of his paintings, most of which were portraits of the princes and generals at that time. Only one of them has "bamboo" – "Portrait of the Bamboo Forest of Filial Martial Artists" – which is speculated by the title, and the background of the characters may be bamboo forest, but it does not exclude the religious metaphor implied by the "bamboo forest" - referring to the place where the Buddha practiced, rather than the specific bamboo forest.
In addition to the above sporadic records, during the Southern Dynasty period when Lu Tanwei and Gu Jingxiu were active, there are almost no more records about "bamboo" in the history of painting.
However, you may have thought that before the great gods such as Wang Xizhi, Hui Yuan, Lu Tanwei, Gu Jingxiu, and Sheikh, didn't the Three Kingdoms Wei still have the "Seven Sages of the Bamboo Forest" as we know it in the first years (240-249 years)? It is said that they drank and sang under the bamboo forest in Shanyang County at that time.
However, in the images left by southern dynasty artists closest to the Seven Sages of the Bamboo Forest, the figure of bamboo cannot be seen. For details, listen to the next breakdown.
This article is a series of audio programs on the history of Chinese art jointly produced by "Taste in the Afternoon" and "Captain Reading Paintings", welcome to listen.
Appendix to this episode:
The Book of Poetry. Wei Feng. Bamboo Pole》
Bamboo rods to fish for Ki. Isn't it? Far from it.
The spring source is on the left, and the water is on the right. The woman has a line, far from brothers and parents.
The water is on the right, and the fountain is on the left. The smile of qiao, the puppet of Peiyu.
Qishui is flowing, juniper is a pine boat. Travel by word to write about my worries.
Nineteen Ancient Poems. Ran Ran Lonely Bamboo
Ran Ran lonely bamboo, root Tarzan A.
Thousands of miles away from marriage, leisurely across the mountains.
Sijun makes people old, and Xuan Che is late!
Wounded Orchid, with heroic brilliance;
Obsolete and unpicked, it will wilt with the autumn grass.
Jun Liang is in charge of the high festival, and what is a concubine.
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