Following the stunning debut at the Spring Festival Gala, "Only This Green" has not diminished in popularity so far, this month, the dance poetry drama "Only This Green" launched a second round of tour, the first stop haikou tour without suspense set off a boom in performance, ticketing, grabbing the light, adding, grabbing the light, and adding the field...
"Only this green" has repeatedly come out of the circle, but also let the "Thousand Mile River and Mountain Map" become the focus, with the "Thousand Mile River and Mountain Map" as the representative of the green landscape painting in the history of the development of ancient landscape painting what kind of influence and status? How did green landscape painting develop in Lingnan? What extent did the Lingnan School, represented by Li Xiongcai, develop green landscape painting to what extent?
The Guangzhou Daily all-media reporter interviewed Liu Wendong, director of the landscape painting studio and associate professor of the Chinese Painting School of the Guangzhou Academy of Fine Arts, and listened to him talk in detail about the "green landscape" that you don't know.
Long roll, not the first time to "go out of the circle"
"This is actually not the first 'out of the circle' of "Qianli Jiangshan Map", Liu Wendong said, in 2017, at the "Qianli Jiangshan - Special Exhibition of Green Landscape Paintings of Past Dynasties" held by the Palace Museum, "Qianli Jiangshan Map" as a heavyweight exhibit attracted people to queue for several hours, just to see the true appearance of the painting.
It is reported that in April of the third year (1113) of the Song HuiZong Zhenghe, Wang Ximeng, who was only 18 years old, spent half a year to paint the long volume of the Long Dynasty" "Map of a Thousand Miles of Rivers and Mountains".
Song Wang Ximeng's "Map of a Thousand Miles of Rivers and Mountains" part
On the scroll of nearly 12 meters, thousands of miles stretch out. It can be said that "A Thousand Miles of Rivers and Mountains" represents the highest level in the field of ancient Chinese green landscape painting.
So, what is the good point of "A Thousand Miles of Rivers and Mountains" and why is it being praised by people? Liu Wendong said that for most ordinary audiences, the most attractive thing is the most beautiful turquoise in the legend. Wang Ximeng uses high-purity mineral pigments of stone blue and stone green to color the peaks. If you look closely, people can clearly see that there is more than one layer of color in the place where the pigment is mottled, and there is also a stone green hidden under the stone blue, and the transition of different colors is extremely natural.
Secondly, "A Thousand Miles of Rivers and Mountains" adopts a large-scale long-scroll composition, showing the continuity of time in the way of wandering and watching the landscape, the themes of each section are relatively independent and interrelated, and the long bridge or flowing water is skillfully connected into one, unifying the continuous picture in the visual movement process in the imaginary space; coupled with the multi-point perspective and the angle of overlook, the picture is ups and downs, fascinating, and the multi-angle depicts the magnificent rivers and mountains of thousands of mountains and rivers, which is very worth savoring.
Green landscape painting, which has left "heavy colors" in history
So what kind of development process does green landscape painting have in Chinese landscape painting?
According to Liu Wendong, from the history of Chinese landscape painting, there is color first, followed by ink. Among them, the color is divided into heavy color and pastel. Green landscape painting is a typical form of heavy color expression, because in this type of landscape painting, minerals are often used to express mountains and rivers and forests, so it is also called "green landscape". The green landscape is divided into "big green" and "small green" (there is another golden landscape, and more mud is added to the turquoise). The big green is more hooked and less wrinkled, the color is gorgeous, and the decoration is strong, while the small green is elegant, and the ink is combined with light color, and the cover dyes the light color and green.
From the Sui Dynasty, where it originated, green landscape painting went from prosperity to decline to continued development, about a thousand years.
Sui Zhan Ziqian "You Chun Tu"
Liu Wendong said that green landscape painting sprouted in the Wei and Jin dynasties, and was most popular in the Sui and Tang dynasties. The earliest silk green landscape painting "You Chun Tu" handed down today is from the Sui Dynasty Zhan Zi Qian's pen. In the Tang Dynasty, the green landscape paintings of Li Sixun and Li Zhaodao's father and son were the most representative.
Song Li Sixun "Jiang Fan Lou Pavilion Map"
By the time of the Northern Song Dynasty, the painting world had not seen mature green landscape works for hundreds of years. At this time, the genius teenager Wang Ximeng created "A Thousand Miles of Rivers and Mountains". The Green Landscape Paintings of the Song Dynasty, represented by Wang Ximeng, Zhao Boju and Zhao Bohua, have become a monument in the history of the development of Green Landscape Painting after the Tang Dynasty with their magnificent weather, gorgeous and beautiful color depictions and symbolic expressions.
Song Zhao Boju and Zhao Boju, "Autumn Color Map of Jiangshan"
Since then, ink landscapes have gradually become the mainstream, and the aesthetic orientation of "ink painting on top" has continued until the end of the Qing Dynasty, becoming the only standard for the aesthetics of literati painting. The style of Chinese landscape painting has gradually shifted from realism to freehand.
Paint a good green, you must have "technical content"
Expensive: Mineral pigments are not readily available
Green landscape painting is mainly mineral color, with plant color, also known as "heavy color", mineral pigments are made of natural ore as raw materials, also known as stone color, its color quality is stable, should not change color, strong coverage. Because it is easy to fall off the picture, it is generally glued with glue, and it should not be too thick when the picture is mineral colored. Stone cyan comes from azurite, stone green comes from malachite, turquoise, red from cinnabar, gold from gold leaf, silver from silver leaf, black from pine ink, but also use ochre, rouge, lead powder, pearl powder and other pigments. "In ancient times, these were very expensive, which is why green landscape paintings were mostly created by court painters." Liu Wendong said.
Tang Li Zhaodao, "Ming Emperor Xingshu Tu"
Complex: Multiple rendering integrations
The steps of painting green landscapes are generally divided into hook lines, rubbing, sub-dyeing, cover dyeing, adjustment, re-hooking (le), and dotting moss. Usually, most of the pencils are used to gently start the draft, arrange the landscape layout; then use ink lines to outline, can be slightly rubbed, and then divided and dyed to distinguish the yin and yang of the mountains; then dye the mountain stone with ochre cover to complete the laying of the base color; and then use pigments such as stone green to color, highlighting the layer and three-dimensional sense; and then according to the needs of artistic creation, repeatedly color rendering adjustment. Therefore, "A Thousand Miles of Rivers and Mountains" is the result of many times of rendering and integration in the drawing process. "Judging by the length of 'A Thousand Miles of Rivers and Mountains', the amount of work is unimaginable." Liu Wendong said.
Yuan Qianxuan "Mountain Residence Map"
Aesthetics: Color cultivation is very important
What is the most important and difficult point of creation for green landscape painting? Liu Wendong believes that green landscape painting has high aesthetic requirements for color, and if the cultivation of color is not enough, it is easy to fall into the cliché. He stressed that green landscape painting should not only deal with the relationship between pen and ink, but also properly handle the relationship between color and ink, such as the transition, articulation and integration of color and ink, etc., in addition to dealing with the relationship between cold and warm and coordinated colors.
The Lingnan Painting Party has made great contributions to "green and heavy color"
Many famous artists in the Lingnan painting circle have also contributed important forces to the development of green and heavy color landscapes in modern and contemporary times, such as Guan Shanyue, Li Xiongcai, Liang Shixiong, Chen Zhangji, Lin Fengfeng, Chen Xinhua, Li Jinkun, Zhang Yan, Zhang Dong and others have important green and heavy color landscape paintings, such as Guan Shanyue's "The Great Wall Inside and Outside the Great Wall", Li Xiongcai's "A Panoramic View of the Mountains", Liang Shixiong's "Red Sun Illuminating Xisha", Lin Fengfeng's "Danxia Chaotun", Li Jinkun's "Refining the Day", Chen Xinhua's "Mountain Family" and so on.
Guan Shanyue "Shaoshan Green Pine"
According to Liu Wendong, Li Xiongcai successfully combined the Song painting tradition with the "hazy body" style painting method taken from Japan, and developed a green landscape painting that has both brush and ink and rendering, and at the same time can express the distance of the scenery and the air layer.
Li Xiongcai", "Huangshan Welcome Pine"
From Li Xiongcai's works such as "A Glance at the Mountains and Small Mountains" and "Huangshan Welcoming Pine", it can be seen that his "green landscape" is clear and vulgar, the smoke and clouds are thick, and the attention is close at hand, which is intended to be thousands of miles. In this regard, Liu Wendong said that Li Xiongcai's green landscape paintings show a deep traditional brush and ink and color skills, showing a deep foundation of Chinese painting, and both modern visual habits and scientific color processing, which is inseparable from the concept of "eclectic Chinese and Western, integrating ancient and modern" advocated by his mentor Gao Jianfu. Moreover, his landscape paintings are mostly combined with the tall green pine and green ridges, and the landscapes in the paintings are majestic and powerful, the artistic conception is far-reaching, and the pine trees of various dimensions stretch out the magnificent shores. In his paintings, the mountain gives birth to the green pine, and the green pine gives the mountain unlimited vitality.
Li Xiongcai once advocated painting before his death, "whether it is heavy color or pastel, it must be ink-based", on the basis of the ink manuscript, and then apply stone blue and stone green, the colors are mixed, it can be seen that he has changed the use of traditional green. While depicting the scenery, it also shows a kind of ghostly light, which is filled with a humid atmosphere. "Mr. Li Xiongcai's efforts have made landscape painting no longer stay at the level of expressing social background, but is the innovation of art." Liu Wendong said.
Lin Feng's traditional green landscape paintings are more extensively borrowed from Dunhuang and the use of folk colors, which strengthens the visual impact of color in the work, because its subject matter comes from mountain village fields, so the works are soaked with a kind of ease and kindness of mountain forest fields.
Lin Feng custom "Danxia Chaotun"
Li Jinkun's heavy color is due to his study of oil painting in that year, in his works, Rembrandt's "light", Delacroix's "delicacy" and the influence of color on vision, traditional Chinese pen and ink and artistic conception have been melted together, thus creating a sense of trance that is both vast and confusing, and has a sense of touch of meticulous play. This kind of display is to a certain extent the artistic purpose of the Lingnan School of painting to "compromise between East and West, and integrate ancient and modern".
Li Jinkun, "Ancient Events"
Chen Xinhua has a special love for folk colors, boldly breaking through the shackles of traditional landscape painting on color, and all kinds of bright colors are released in his works. In addition, he does not stick to a narrow figurative category in the image of his works, and reorganizes the micro and macroscopic aspects of things with their unique understanding and transformation, so it is unique among the heavy color landscape painters in lingnan.
Chen Xinhua's "Plateau Autumn"
Text/Guangzhou Daily, New Flower City reporter Li Qiaorong
Image source: Interviewee
Guangzhou Daily Xinhuacheng editor Dai Yujing