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Han Humble said: "The boat cannot be stopped, and the water ear is heard." He also said, "He who speaks of the bridge, knows the bridge through the boat." This is the definition of "bridge" in painting theory, and when there is water and a boat passes through it, the bridge appears with it. Bridges (like boats) are man-made buildings in which painters want to create landscapes rich in human life, in which bridges naturally play an important role. The operation and arrangement of different locations of the Bridge of Landscape and Water often contain the ingenuity and composition of the painter, thus reflecting the specific aesthetic relationship between man and nature.
Looking through Chinese landscape paintings, the bridge as a background, the position in the picture is not fixed, often follow the needs of the picture and the painter's state of mind to construct. But we can still find and generalize some laws from it. The location of the bridge in landscape painting and its relationship with natural objects can be roughly divided into three kinds of relationships: the relationship of "favorable situation", the relationship of "introduction" and the relationship of "creating a boundary".
First, the position of the bridge in the landscape painting and the natural object image show a "favorable" relationship, that is, the bridge in the landscape painting is drawn along the mountain, the water potential or the growth of the surrounding grass and trees.
Tang Dai's "Painting The Incident" said: When the stream is rushing, a dangerous bridge is built to pass the brigade. Around the rapidly flowing stream, the painter depicts a very steep dangerous bridge, which should meet the turbulent water flow and the steep mountain travel scene, which is to talk about the conformity and relationship between the bridge and nature. Shandashi said in the "Journey of Xishan Lying Down": "Painting bridges is different from high bridges, stone bridges, small bridges, and banqiao. High bridges and stone bridges have bridge railings, small bridges, and banqiao, and there is no need to hold rails. It also depends on the mounds. ”
The so-called "also depends on the appropriateness of the hills and ravines" also well summarizes the "favorable" relationship between the bridge and nature. When the painter creates art, the first thing to consider is the overall layout of the landscape and hills, after forming the main landscape of the landscape, and then arrange the position of the bridge according to the terrain in the picture, in order to "shun" the main scene and "shun" the terrain. In fact, the reason behind this "favorable situation" relationship is the "common sense" of shun painting, and further plays a role in increasing and enriching the level of the picture on the basis of "common sense".
In addition, "shunjing" also has a layer of meaning, that is, the image of the bridge needs to be blended with the nature of the landscape. Chinese painting should be "made of nature" and "in harmony with nature", that is, when creating art, it is necessary to erase the traces of man-made and fit with the "Tao". In landscape painting, the bridge belongs to man-made architecture, and it is necessary to avoid obvious artificial patchwork tendencies when creating, and to conform to the image of the bridge to the landscape of the landscape, not only to achieve natural connection with the surrounding mountain terrain and water flow, but also to skillfully integrate with the landscape and water objects.
Shen Zhou "Bamboo Garden Maoting Map" part
Second, the position of the bridge in the landscape painting has a "guiding" relationship with the natural object.
"Introduction" has two meanings, one of which is "leading" to nature, leading to and leading to the distant meaning, thus constituting a far-reaching painting realm. It is said that Li Cheng's "Landscape Tips" painting theory said: "The wild bridge is lonely, and the bamboo house is remotely connected." Among them, "remote communication" is the meaning of guiding the natural landscape to the distance, and such a layout often plays a role in meandering paths. Chinese painting pursues "meaning is far away, the realm is expensive and deep", and this kind of painting is constructed through the ingenious combination of background scenery such as "Qiaotou Bamboo Forest Lock Restaurant" and landscape.
In real-life buildings, especially garden architecture, bridges are often used to lead to the ghost in front of them. For example, in the Houxi River of the Summer Palace in Beijing, the deep water feature is in the narrowest part of the Bridge, interwoven with visual barriers and continuous psychological hints of water flow under the bridge, creating a "distant" water feature. There are many similar examples in the paintings. For example, the background of banqiao in Shen Zhou's "Bamboo Garden Maoting Diagram" in the Ming Dynasty leads to the typical picture subject of "bamboo garden hut in the center of the lake", and prominently presents the "bamboo garden hut" in front of people's eyes.
Third, the position of the bridge in landscape painting is related to the "creation" of natural objects.
Zong Baihua's "Aesthetics and Artistic Conception" said: "The creation of artistic artistic conception is to make objective scenes a symbol of subjective feelings. Among them, the position arrangement of "scenery" as an object in the creation is inseparable from the subjective emotion of the painter, and what kind of artistic conception the picture can express is often determined by the position arrangement of the "scene" under the domination of the painter's subjective emotions, through this subjective arrangement, the bridge of the landscape lining the scenery (including the temple, the building, the pavilion) in order to construct a new artistic conception, which is what we call "creating the environment". In the "creation" relationship, the bridge of the lining can be arranged in a proper and ingenious position, so as to meet the subjective emotions of the painter, only in this way can the artistic conception of the picture be finally set off. There are many exquisite expressions of this aspect of painting theory:
"The characters of the mountains mark the road, the view of the mountain towers is marked by the victory, the trees of the mountains are reflected in the distance, and the valleys of the mountains are intermittently shallow and deep. The Mizutsu Bridge is full of people, the fishing rod of the water is enough to be satisfactory, and the Oyama Hall is the lord of the mountains, so the distribution is based on the Suboka Furin Valley as the suzerainty of the size near and far. (Guo Xi, "Lin Quan Gao Zhi")
The so-called "Water Tsu Bridge with Sufficient Personnel" is to point out that the arrangement of the bridge can add vitality to the landscape painting, thus creating a harmonious and self-satisfied artistic conception. Dong Qichang said:
"Mountains and rivers, forests and springs, idle and secluded. The house is deep and the bridge crosses the traffic. The foot of the mountain enters the water, the source of the water is clear, and the origin is known. There is this number end, that is, unknown, must be a master. (Dong Qichang's "Essay on Painting Zen Room")
In a landscape painting, there are pictures of "deep houses, bridges crossing", "mountain foot into the water, clear water source" and other background pictures, which is not only a truthful portrayal of the scene, but also a kind of "creation", of which the image of "bridge crossing" plays an important role in the deep and leisurely artistic conception and the expression of the painter's subjective feelings. Shigemitsu went on to say:
"Pingyuan faction, water and land are different. The rivers and lakes are reflected in sha'an, luting, sail trees, geese, brake poles, louqiao, shulei, and fishing trees; the village is paved with fields, fences, nagisa, willow banks, maodians, banqiao, tobacco markets, and ferries. (Shigemitsu Shigemitsu, "Painting Raft")
The interpretation of the relationship between the bridge and nature in this painting theory is more clear, and the "Banqiao" and other lining factors (brake poles, ferries) are an excellent way to create a "Pingyuan" painting environment.
Li Yu mentioned in "Idle Love and Occasional Mail" that the process of garden building is in line with the layout and arrangement of landscape painters in the chest, which also has enlightenment for our understanding of "creating a realm":
Yu also tasted as a mountain vanity, named "scale window", also known as "heartless painting", Gu said vainly. In the floating white Xuan, there is a small mountain behind it, which is not more than a foot high, wide and searching, and among them are Danya blue water, maolin bamboo, songbird waterfall, thatched house banqiao, and all the things in the mountain residence. (Li Yu," "Idle Love Occasional Mail")
This shows that gardening, such as painting "creating a realm", requires people's subjective construction, and it is necessary to "virtualize" the garden, "mountain cliff repair bamboo" and "Banqiao" to create a sound and color, there is a realm of reality and virtuality.
The relationship between the position of the bridge and the natural object in landscape painting from "favorable" to "guiding" to "creating" is an aesthetic improvement process. In the depiction of the background of the "bridge", whether the painter grasps common sense, whether he can paint appropriately, and whether he can further "surprise" on the basis of "obtaining nature", so as to show the transparent realm of the "Tao" in the universe, which can only be truly achieved on the basis of grasping the law of landscape painting creation.
Attached: Point view bridge, tower simple drawing method
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