Wet apricot blossom rain, blowing noodles do not chill willow wind. Spring is the darling of countless literati and scholars throughout the ages. Ancient painters skillfully danqing, pen the spring breeze, create a beautiful painting, the colorful, vibrant spring in front of people.
Qing Dynasty Li Li "Peach Blossom Willow Swallow Diagram"
【01】Birds, flowers, fragrance
Qing Dynasty painter Li Kun's "Peach Blossom Willow Swallow Diagram", the picture of a willow tree from the lower right side of the sky, the branches are strong and straight, there are many branches hanging from it, and the willow leaves are green and green, showing vigorous vitality. A few peach trees sprout from behind the willow trees, and red and white flowers bloom in full bloom, fragrant, feminine and fresh, and the pale green leaves reflect the flowers. The branches of the peach tree are colored brown, which contrasts with the ink-colored willow trunks. Between the peach willows, four early spring warm swallows, or spread their wings and fly, or stand still branches, or want to swoop down, or squeak and chirp, with different looks, lifelike, lively and cute.
The whole painting is harmonious and clear, and the pen and ink are exquisite, depicting the scene of peach red willow green and swallows playing in spring, vividly conveying the breath of spring and warming and melting. As the Song Dynasty poet Yang Jian Shiyun said: "Peach red willow green clusters of spring, swallow warblers cry out for the best day." "The swallow is a symbol of spring, and the swallow also brings excitement and poetry to spring, and ancient poets praised spring by chanting swallows. Du Fu said: "Hunan is moving through spring for guests, and the swallows are new twice. Su Shiyun: "When the swallows fly, the green water people go around." The willows on the branches blow little, and there is no grass at the end of the world! The Southern Song Dynasty scholar Wang Yan's "Sheri" said: "The sun is warm and the mud melts the swallows fly, and the begonias are deep and shallow with rouge." A cup of Society's Day Cure Deaf Wine, repaying the spring light. ”
Ming Dynasty, Bian Jingzhao, "Spring Birds, Flowers and Trees"
Ming Dynasty painter Bian Jingzhao's "Spring Birds, Flowers and Trees" depicts the scene of wild mountains and forests in spring. In the lower right corner of the painting lies a huge mountain stone, in which bamboo is overgrown, bamboo leaves are scattered, and young shoots break through the soil. On the right side of the picture, several apricot trees and plum trees are curled up and stretched out, towering out of the painting, and apricot blossoms and plum blossoms are blooming vigorously. As the Northern Song Dynasty poet Song Qi 'Yulou Chun' said: "The green poplar smoke is cold and light, and the red apricot branches are full of spring." "Several mountain magpies and birds perched among branches and rocks, or jumped, or clamored, or pecked, or combed feathers, or Gu Pan, leaning on the opposite side, echoing each other, and doing their best.
The whole picture atmosphere is lively and cheerful, the mood is vivid and interesting, and the colors are beautiful and clear, showing a vibrant spring scene. The combination of full drawing and writing, rigid and soft, has innovated in the flower and bird painting technique, the bird outline is fine, the pen is heavy, the pen is soft, and the attention is paid to portraying the characteristics of the bird and the state of smiling and flying.
Ming Dynasty Qiu Ying's "Spring Tour and Late Return"
【02】 Stepping on the green and picking up the green
Ming Dynasty painter Qiu Ying's "Spring Tour Late Return" did not deliberately render the noisy scene of stepping on the green front, but chose the detail of "returning late" to express the high interest of the spring tour, and even forgot to return home, which can be described as cleverly conceived. Su Shiyun: "Traveling in the green, picking up CuiXi." ”
The custom of traveling to youth has a long history in the mainland, and it is a way for people to yearn for nature and send love to the landscape. It existed in the pre-Qin period and became a fashion during the Tang Dynasty. Du Fu had the verse "Walking on the riverside, looking back to see the flag"; Meng Haoran had the chant of "The years are born in the spring, and the green is in February and March"; Bai Juyi even said that "I don't have fun in the spring, but I am afraid that I am a fool." The custom of the Song Dynasty was even more prevalent. The Northern Song Dynasty Cheng Hao's "Suburban Walk is a Matter" describes the scene of people enjoying the scenery: "When the green field of Fangyuan is wandering, spring enters the green mountains and surrounds the mountains. The red of the red lane is chaotic, trapped in the flowing water and sitting on the moss. Mo Cijiu was very persuaded, only afraid of the wind and flowers flying. If the weather is clear and good, you may wish to travel and forget. ”
"Spring Tour and Late Return" depicts the scene of the four masters and servants returning late in the spring in the twilight sky, and the characters are vivid and vividly portrayed. An older servant took the hem of his pants and held a crutch in his hand, and first went to the door of the house to knock on the door; the master was holding a bucket hat, wearing a robe, and a long beard, riding slowly on his horse, as if he was still immersed in the joy of the spring tour; followed by the two children and servants, the latter child holding a stick, carrying a wine altar and a book box, and the other child in front of him turned back with a piano, and the second child was talking with great interest, or exchanging anecdotes and experiences about the spring tour. It can be seen that the master's spring tour of Yaxing: reading, playing the piano, drinking, full of interest.
This picture is not too big, but the scenery is wide, there are thousands of miles away, and it is also unique in the depiction of the environment and the creation of the atmosphere, highlighting the theme of late return. The distant mountains are like daisy, the peaks are stacked, shrouded in twilight mist, and the woods under the mountains are also obscured by clouds and smoke, and they appear from time to time.
The painter uses light ink to paint the edge of the trunk without barking, and the distant mountains do not rub it, only with wet brush light ink and snail green lining to symbolize the twilight and the scenery is misty. The close-up depiction is meticulous, the willows are straight, the curves are vigorous, the branches are luxuriant, the greenery is green, the courtyard under the shade of the green trees is luxurious, the gray tiles are ridged, the stone walls are neat, the flowers inside and outside the courtyard walls are blooming, and the owner is a person with a taste for life. A stream flows from the left, zigzagging and rippled, and an elaborate little bridge is built on it. The slopes of the shore are rocky, dwarf bamboo bushes, peach trees, and flowers. The composition of this painting is simple and cheerful, with meticulous and precise pen, elegant color, and rich atmosphere of life.
Yuan Dynasty Shang Qi", "Spring Mountain Picture Scroll" (partial)
【03】Haruyama Yayun
Yuan Dynasty painter Shang Qishan painted landscapes and ink bamboo. His landscape masters Li Cheng and Guo Xiyi, who also involved in Mi's ink method, the painting style is realistic and bright, the pen and ink are elegant, and there is also high interest, and the ancient people of the shifa are also the representatives of the northern literati landscape painters of the early Yuan Dynasty. The only surviving work of his surviving works is the Spring Mountain Scroll, which is now in the Palace Museum in Beijing. This long scroll of more than two meters, with rigorous composition, stretching momentum, fine pen and ink, and beautiful color, gives people the beauty of green mountains and green mountains and everything. The Qing Dynasty poet Li Jian has a poetry cloud: "Spring rain at the beginning of the sunny mountain color, mountain village forest foothills with smoke." ”
The distant scenery of the picture is continuous, winding and undulating, dominated by thick and light ink or floral blue smudge dyeing, depicting the lofty mountains and mountains as reckless, smoke cage fog, and clouds, setting off a majestic and magnificent momentum; near the high mountains, peaks and peaks, lush trees, lush, mountain stone depictions are meticulous, first with thick ink outlines, and then with juice green halo staining stone surface, not only showing the texture structure of the rocks, but also highlighting the green of the mountains, rendering the emerald green and vibrant spring feelings of the mountains; the streams in the mountain streams flow from top to bottom, sometimes rushing Sometimes gentle, as if hearing the sound of spring water flowing, adding a sense of movement to the quiet mountains and rivers, showing infinite vitality; the pines and cypresses under the mountain are upright, the jungle trees are mixed, the lush and deep show, the lake is vast, the water ripples, the shore houses are like a house, scattered in the forest, there is a paradise; the proportion of the characters in the picture is extremely small, but the shape is accurate, and a few strokes are made to point out the identity of their scholars, who are in the mountains and forests, or talk to each other, exchange comments, or walk with a staff, and appreciate the beauty of the landscape. As the Southern Song Dynasty poet Chen Ji 's "Twilight Spring Mountain Trip" said: "The joy of the night is not comfortable, and the mountain is wandering with a staff." The forest is deep and the trees are stacked, and the stream is rising and flowing heavily. ”
Ming Dynasty Zhou Chen's "Spring Mountain Riding Map"
"The day will be a little rain in the spring and a half, and whoever sees the branches and flowers is in chaos." Looking at the end of the world, the shallow Spring Mountain is full of yarn. Xu Xuan, a literary scholar of the early Song Dynasty of the Five Dynasties, painted a picture of spring with hazy spring rain and a hundred flowers blooming. Zhou Chen's "Spring Mountain Riding Map" depicts the scenery of the Spring Mountain tour. The background of the painting is deep and high, and the distant scenery is lofty and mountainous, and the mountains are stacked and undulating, like barriers. The pines and cypresses above the steep and steep slopes are green, dotted with distant mountains, the pavilion is faint, the pen and ink are simple, and the reverie is infinite; the pen and ink in the middle scene are thick and light, the mountains are majestic, the peaks and ridges are different, the mountain roads are rugged, and the boardwalks are twisting and turning, spiraling upwards. The mountain pass is gentle and open, the forest is towering, lush, there are huts and fences, house courtyards, is for tourists to stop eat, tie horses to feed the guest house, several tourists, or fight against each other, or sit and talk, or stand and listen; the close-up ink rendering, clear layers, from far and near, virtual reality reflects, let people have a sense of immersion.
The stream at the foot of the mountain is wide, babbling, sound and clear. The creek bank meanders, the parapet twists and turns, the rocks are rugged, the pines on both sides are tall and lush, the miscellaneous trees are leafy and weeping, the peach blossoms are blooming, and the smoke is brilliant, and a vibrant mountain spring color. Above the stream, the banqiao flying frame, the long dragon lying on the wave, the three masters and servants on the bridge are crossing the bridge, the horseman wears a bucket hat, looks leisurely, and is looking back at the beautiful scenery of the mountains. The front guide hunched over and walked with a staff. The pickers in the back follow suit, followed suit. On the left bank of the stream there were a few pickers, or woodcutters, or tourists. The characters in the painting are vivid and vivid, with different looks, lifelike, ready to come out, soft and delicate brushwork, sparse and clear. The composition of the whole painting is clear and delicate, the brushwork is beautiful, the hills and ravines are hidden in the chest, the pen is full of rhyme, the horizontal peaks are side ridges, and the Xiongzhong Yuxiu is beautiful.
◎ This article was originally published in "China Culture Newspaper" (author Zheng Xuefu), the source network, the copyright of the picture and text belongs to the original author, if there is infringement, please contact to delete.