Song Guo Xi Early Spring Figure Axis
Color on silk 158.3x108.1cm
Collection of the National Palace Museum in Taipei
Mountains, shrouded in mist, misty and misty; mountains meander and meander, rolling hills; mountains are getting higher and higher, more and more strange; peaks or give way to Gu Pan, or towering and independent, making people feel as if they have been in it.
But see strange rocks, jagged ancient trees, flying waterfalls and springs, high pavilions on the floors, and a wonderland of Ruo Taoyuan. A clear spring in the mountains flowed straight down from the crevice of the rock, and the water flowed in waves. The trees have grown buds and are full of fun.
It can be seen that the harsh winter has passed, the spring snow has melted, the earth has warmed and recovered, and the spring light has quietly descended on the world.
On the left side of the shore is tied to a small boat, the fisherman on the shore shoulders the burden, the fisherman holds a child in one hand, the other hand holds a child, is talking and laughing, joyfully walking home, followed by a live jumping puppy, it is cute. On their way home, a fisherman was disembarking. On the trail trail, there are more woodcutters and travelers walking back and forth.
Song Shenzong was particularly fond of Guo Xi's paintings and hung his paintings everywhere in the palace. However, after The Death of Shinjong, his paintings were no longer valued and were snubbed. Guo Xi wrote an important treatise on landscape painting, called "Lin Quan Gaozhi", in which he put forward the famous "Three Distant Methods" theory, which had a huge impact on the development of painting in later generations.
The composition of this painting is the full proof of the theory of the "three distant methods": from the water's edge rocks to the distant peaks from the top down, the "high and far"; from the front mountain to the back mountain, the vast and infinite "far-reaching"; from the near mountain to the distant mountain, the idyllic "flat distance".
He combined the "three distances" method to skillfully show the scene of beautiful peaks, smoke and mist, trees and streams; fishermen and trees, tourists and tourists, in which they were all happy.
The whole picture gives people the feeling that the mountains and rivers are full of fresh breath, full of lively vitality, and full of joyful emotions. The scenery is empty, clean and interesting.
Guo Xi often commented on the painting method of the mountain: "Spring Mountain is light and smiling, Summer Mountain is green and like drops, Autumn Mountain is clear and like makeup, and Winter Mountain is bleak and sleepy." It is indeed most appropriate to describe his "Early Spring Map" with "Spring Mountain Is Light and Smiling".
Guo Xi's landscape paintings are magical and mysterious, abrupt and dangerous, and the arrangement is wonderful and varied. "Let go and make a long pine giant tree, back to the creek cliff, the rock is extinct, the peak is in love, the clouds and smoke become extinguished, and the mist is varied." (Xuanhe Pictorial Notation)
Guo Xi is very concerned about the emotional infection given to people by the seasonal characteristics of landscape painting, and puts forward the "four such" theory, that is, "Spring Mountain is light and smiling, Summer Mountain is green and like drops, Autumn Mountain is clear and clean like makeup, and Winter Mountain is bleak and sleepy." ”
The scenery of the picture is empty and clean, full of humor, and there is really a feeling of "light as a smile". Although the branches have not yet spit green, there is no sense of remoteness. It specifically illustrates the ideal realm pursued by Guo Xi's landscape paintings, which has the aesthetic significance of combining mystery, high cleanliness and intimacy.
Guo Xi's great contribution to landscape painting also lies in his painting theory "Lin Quan Gao Zhi Collection", compiled by his son Guo Si. At that time, landscape painting was already highly mature, and Guo Xi combined his own creative experience to make a brilliant exposition of the social significance of landscape painting, the personal cultivation of painters, the intention, technique, proposition, and painting style of landscape painting.
Among them, the "three far-reaching" theory divides the framing of landscape painting into three concepts: "high-distance", "far-reaching" and "flat-reaching", which have a far-reaching influence.
When discussing the personal cultivation of landscape painters, he advocated "absorbing and looking at the tradition at the same time, widely discussing and examining", and at the same time emphasizing "taking it from the body as a mountain" and "looking at it from afar to take its potential, and looking closely to take its quality".
Even if you look at landscape paintings, you must "come with the heart of the forest spring". The painter integrates his body and mind into the landscape, which is the ideal realm of "the unity of heaven and man" and "plain and innocent" pursued by the literati of all generations.
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