Imaginary Pole Zi Press: Chengguan single-mindedly and soaring into vientiane, moving the heavens and shrinking the earth to enter the king's arms.
Zi zai Kawakami said: "The deceased is like a sifu, who does not give up day and night" (Analects of Zihan), and the Greek philosopher Heraclitus also said that "man cannot step into the same river twice" ( ) . It seems that the sages and sages of both the East and the West realized that there are similarities between time and flowing water. Days are like flowing water, spending money is like flowing water, so after doing the same amount of substitution, you will find that the phrase "time is money" is the truth.
▲ [Southern Song Dynasty] Ma Yuan's "Gaoshiguan Waterfall Map" album, about 1200 years, ink on silk pale color, 25.1 cm in length and 26 cm in width
Collection of the Metropolitan Museum of Art, New York, USA
With water as a metaphor for time, with mountains as a metaphor for space, there is a sky in the distance of the mountains, oh no, to be precise, it is "white", Chinese landscape painting does not deliberately show the scenery of the sky. In the fifth dynasty, the mountains written by Jing (Hao) Guan (Tong) Dong (Yuan) Ju (Ran) were all "open to the mountain" and specialized in all kinds of disobedience of Yu Gong moving mountains.
▲ [Northern Song Dynasty] Fan Kuan's "Map of the Journey of The Mountains", early 11th century, ink on silk, 206.3 cm in length and 103.3 cm in width
Collection of the National Palace Museum in Taipei
In the paintings of Ma Yuan and Xia Gui in the Southern Song Dynasty, the mountain was squeezed into a corner or half, so these two were called "horse corner" and "summer half", and most of the picture was given to empty blank space, as if the paper was enough ink. Some think it is beneficial, there is no use, in fact, the blank space has its own wonderful use - it extends the imagination of the viewer. In the melancholy of dressing up as an imaginary, the Southern Song Dynasty literati vaguely saw the blue sky outside the sky, the green mountains outside the mountains, the lost Central Plains, and the hometown that could not go back...
▲ [Southern Song Dynasty] Ma Yuan's "Hua Lantern Feast Diagram" axis, circa 1198-1201, light color on silk, 111.9 cm in length and 53.5 cm in width
Collection of the National Palace Museum in Taipei
The time and space symbols hidden in landscape paintings are the DNA of Chinese culture. When we were teenagers, everyone memorized Cao Cao's "Guancang Sea", right? It is the first landscape poem in the history of Chinese poetry with a complete rhyme:
To the east, it is bordered by Jieshi to view the sea.
The water is thick and the mountain islands are standing.
Trees are overgrown and grassy.
The autumn wind is cold, and the flood waves are rising.
The journey of the sun and the moon, if out of it.
The stars are brilliant, if out of it.
Luckily, even Ya, the song is sung in Yongzhi.
This first landscape poem sets the tone of the macroscopic aesthetics of cosmic space-time from the beginning: Jieshishan Island represents the boundless space and is for the "universe"; the shuttle between the sun and the moon implies the vast "time" and is for the "universe". The vicissitudes of the sea become sangtian, the mulberry field transforms the sea - time and space move each other, interact with each other, and transform each other, all of which are "viewed" in the eyes of the high people and taken into the hearts of heroes...
▲ [Sui] Zhan Ziqian 'You Chun Tu' volume
It is 43 cm in length and 80.5 cm in width
Collection of the Palace Museum
Poetry is an invisible painting, painting is a tangible poem. From the first landscape poem "Guancang Sea" to the recognized first landscape painting "You Chun Tu", it spans four hundred years. From the great chaos at the end of the Han Dynasty to the reunification of the Sui Dynasty, the Chinese literati traveled far between the disintegration and revival of the empire and disappeared from the end of the river. The beautiful scenery of Jiangnan has quieted the mournful feelings of the literati after the southern crossing of the crown - ah! There are so many delicate rivers and mountains, causing countless heroes to bend their waists.
▲ [Southern Song Dynasty] Xia Gui's "Qingyuan Map of Xishan Mountain" volume (partial), early 13th century, ink on silk, 46.5 cm in length, 889.1 cm in width
Collection of the National Palace Museum in Taipei
Jiangnan of the Six Dynasties has taken on too many things that she should not have undertaken. Fortunately, there are also Wushan Yueshui here, which can be turned into poetry and paintings, and together with the royal family and the literati with poor waists, they can do hard to make flat supports and support Chinese culture. This support is four hundred years. Go to the country and nostalgia, there is a home is difficult to return, how to relieve worries? Only sending love to the landscape does not ask the world. Helplessly, the sun and the moon are drowning, the old is coming, the work is not enough, thinking about the scroll scale. Chengguan is single-minded and soars, moving the heavens and shrinking the earth to enter the king's arms. As the Jin and Song Dynasty painter Zong Bing lamented: "The old and the sick are all over, and the famous mountains are afraid to be difficult to see, but when Cheng huaiguans the Tao, lie down and swim." ”
To tell the truth, at this time, paralyzed in the sofa brushing mobile phone, do you also feel the joy of "sleeping"?