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Ming Lanying "Landscape Album" twelve open one
31cm×24.8cm Color on paper
1655 Rongbao Zhai collection
Life in the Ming Dynasty seemed warm, at least the literati of that time would have thought so. Ming Dynasty landscape painting will also bring people such a feeling, Ming Dynasty landscape at least in the middle and early Ming Dynasty landscape painting works, there is no longer the five generations, two Song And Yuan Dynasty landscape painting in the cold, cold, silent and desolate. The literati of the Ming Dynasty seemed to have injected a different look and atmosphere into their ink landscape paintings, which were unprecedented and incredible, and what we should try to understand is what this means and what is the reason?
Ming Lanying "Landscape Album" twelve open one
31cm×24.8cm Color on paper
1655 Rongbao Zhai collection
Is it that the actual encounters of the literati have taken a turn in the Ming Dynasty from the previous era? If this is the case, then the different atmosphere in the ink landscape paintings of the Ming Dynasty literati is easy to understand. But this is not the case. The life of the literati of the Ming Dynasty did not improve in any way, and it can even be said that it became worse and worse. This is a fact. Fundamentally speaking, the relationship between the life of the literati and the rulers of traditional authoritarian societies is strictly speaking ambiguous. If the ambitions of the literati and the common man can be realized even partially with the acquiescence of some wise monarchs, the relationship between the literati and the monarch is close. But the problem is that the literati's Taoist view and the monarch's political concept cannot completely coincide after all, and the reason why the monarch can acquiesce in the existence of the literati's Taoist system is only because it can internally support their rule to some extent and whitewash the peace for them, but in many cases the Taoist system is bound to the political system, so the literati get more rejection and rejection from the monarch, that is, the relationship between them in this case is tense.
In order to alleviate this tense relationship, the literati chose the way of secluded Forest Spring, and this tension in the Ming Dynasty became more and more intense. Compared with the rulers of the previous era, the Ming dynasty monarchs treated the literati in a much more cruel way, and the rulers of the Ming dynasty had a distrustful attitude toward the literati since the founder Zhu Yuanzhang, and it was easier to understand that the situation of the literati appeared under the rule of the Mongols in the Yuan Dynasty, but when the ruling power of their own nation that the literati expected was taken back by the strong and brave people of their own nation, their abandoned fate did not get the slightest improvement, which was something they did not think of in any way. It is conceivable that the despair of the literati of the Ming Dynasty will be more thorough than the despair experienced by the literati of the Yuan Dynasty, and if there is still a little resentment in the despair of the literati of the Yuan Dynasty, then the despair of the literati of the Ming Dynasty is permeated with a chill to the bone. Historians do not deny that the rulers of the Ming Dynasty created a large number of slaves for our nation, and the way and crisis of creating slaves have been exposed by Lu Xun and other staunch critics of traditional culture, but historians may not necessarily realize that the literati of the Ming Dynasty did not voluntarily bear the identity of their slaves under the oppression of the hard-line rule, they were not incompetent or weak, they realized that in addition to being able to do this, they did not dare to do anything, the otherworldliness of the Song and Yuan literati They did not dare to have the luxury and the slightest doubt. But fortunately, beyond their political ambitions and the otherworldly, they accidentally found another way to settle their bodies and minds and seek liberation, and they found life, an earthly life that allowed them to release their desires and at the same time throw away all their baggage, and they could indulge freely and begin to enjoy life. In the course of their lives in search of a homeland, the Literati of the Ming Dynasty found a new starting point, presumably full of anticipation and joy when they prepared for this new beginning.
Ming Wu Wei Liu'an stroll chart
167.8cm×101cm
Color on silk, Collection of Tianjin Museum
The choice of the literati of the Ming Dynasty for a new life could not have affected their ink landscape painting creation. Indeed, in the creation of landscape paintings in the middle and early Ming Dynasty led by Wu Men painters, the trajectory of transformation can already be grasped relatively clearly, and from the perspective of the level of creative realm, the interior of ink landscape paintings in the middle and early Ming Dynasty is undergoing a transformation process from "deep" to "shallow". The "deep" or "shallow" of the painting realm, the identification of its discernment is inseparable from the literati's transcendence of the existence of human limited life, Zhuang Zen's philosophy and aesthetic thoughts lurk in the literati's imagination of the transcendent realm, suppressing, dissolving, denying people's innate emotional desires and attempting to blend in the state of silent existence in the natural world of the universe, in our traditional cultural context, this realm is called "deep" and "shallow". Before the Ming Dynasty, the path of transcendence followed by the literati had not been questioned or justifiably abandoned, and in the Ming Dynasty, the literati reversed the path of transcendence prescribed by Zhuang Zen, and they no longer exchanged the void realm of Zhuang Zen at the cost of denying human lust, on the contrary, they insisted on experiencing the Zhuang Zen realm in the world of life that affirmed people's lust. The creation of literati ink paintings of the "Wumen School" still retains and continues the patterns of the five dynasties of the Song and Yuan dynasties to some extent, the difference is that after these established illustrations, there is no longer the content that once made the literati yearn for infinitely, in addition, it has to be said that the ink landscape paintings written by the literati of the Ming Dynasty are more and more inclined to depict the scenes in which they live, and the mountains and rivers and hills are no longer used as the carrier of the heavenly path but incarnate as part of the specific scenes of the literati's life, just as the landscape image of the Wei and Jin dynasties first entered the literati picture. Of course, through the efforts of five generations, Song and Yuan ink landscape painters, the immature landscape image of the Wei and Jin dynasties has been changed, and what the Ming Dynasty literati have tried to do is to create a more approachable living world with mature landscape symbols, and the Zhuang Zen realm is only a vague background stuck in distant memory.
Ming Lanying "Landscape Album" twelve open one
31cm×24.8cm Color on paper
1655 Rongbao Zhai collection
The significance of the transformation of the Ming Dynasty literati's ink landscape painting to the history of traditional Chinese art and cultural history is similar to that of the Renaissance after the Western Middle Ages—similar, not equivalent—what they all have in common is that they are all concerned with the interpretation and affirmation of the sensual nature of man. After the Renaissance, with the help of a re-examination of human lust, Western culture began to appear in the western culture of the sensual and rational people with independent personalities, the sensual and rational people exist relative to the divine, and when man and God are in an antagonistic relationship rather than just a dependency relationship, "man" appears. Although lust has also been affirmed to a certain extent by the literati of the Ming Dynasty, "man" does not appear in the context of our traditional culture, and the reason for this is worth investigating deeply. The reason is probably this, the Ming Dynasty literati and lust established a relationship of dependence and belonging, the purpose is to place in it a spiritual home different from the mysterious realm of Zhuang Zen, while the West established an accomplice relationship with lust after the Middle Ages, in order to get rid of the command of God in another world, the purpose is different, resulting in the difference in the image of Chinese and Western people.
Ming Lanying "Landscape Album" twelve open one
31cm×24.8cm Color on paper
1655 Rongbao Zhai collection
This kind of affinity ink landscape created by the literati of the Ming Dynasty has a natural connection with Suzhou and its surrounding areas, the gathering place of the literati at that time, that is to say, the natural features of the region, especially the cultural attributes, have a profound influence on their landscape paintings. Suzhou in the Ming Dynasty, the economy was prosperous, the property was abundant, and the literati here were either rich or had close contacts with the rich, so they generally had a relatively comfortable life, although Tang Yin and others were once poor but they had a relatively rich or even luxurious life after all. What the literati of the Ming Dynasty liked was such a life, which was a world away from the hard work of the common people at that time, they often had a group feast, and they often liked to record pictures after these activities, such as the "Apricot Garden Yajitu" volume, which was a wordless confession of their attitude towards life. The life of the common people pursues the physiological and material satisfaction of the lower level such as food and clothing, but the literati are happy to live a life that allows them to vent their emotions arbitrarily and release their desires without scruples, and in the landscape paintings of the Literati of the Ming Dynasty, it is not difficult for us to check out the various props furnished in this kind of life, such as exquisite furniture, houses, scrolls, fans, wine utensils, tea cups, incense burners, yarn tents, screens, vases, antiques, and so on. In the literati, they are synonymous with elegance, but it is not difficult for us to smell from the so-called elegance of the literati's self-conceit and self-appreciation that arrogance and indulgence, drunken dreams are unprovoked, and even not without pornography. Among the many painting schools in the Ming Dynasty, the Zhejiang school is an exception. The painters of the Zhejiang School inherited the style of the Southern Song Dynasty, and liked to depict the scene of people walking and sitting in the wind and rain, on the surface it seemed to be the opposite of affinity life, but in fact, in another angle, it reflected that the elegant life of the Ming Dynasty literati did not have an extremely solid foundation.
Ming Lan Ying Song Yin Diagram
278cm×99cm
The paper is colored Rongbao Zhaizang
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