Recently, the special art exhibition "Song Yun Jinhui" was held at the Art Museum of the China Academy of Art. The national treasure-level works of Guo Xi, Li Tang, Liu Songnian and other painters gathered together and attracted a large audience.
Landscape is not one thing, landscape is all things. Xu Jiang, Vice Chairman of the China Federation of Literature and Literature, Chairman of the Zhejiang Provincial Federation of Literature and Literature, and Director of the Academic Committee of the China Academy of Art, told everyone how he understood Song Yun and the spirit of Chinese landscapes.
Chinese's landscape attachment
More than 10 years ago, I planned a micro-movie: a person with his back to the audience was watching the Northern Song Dynasty painter Fan Kuan's "Xishan Travel Map", the camera was approaching, over the back, forced into the part of the distant mountain, the ink spots were faintly distinguishable, and the textures were faintly intertwined. Then, the camera fades, "Xishan" changes into a real mountain, and finally returns to the previous position of the back, but the green mountain outside the gate of the Academy of Fine Arts is already facing.
This micro-movie tells a truth in the form of a game: we need to understand the traditional Chinese vision of landscapes, and then use this vision to see the real mountains and waters around us.
What is the vision of the landscape? Chinese painters paint a mountain, usually first live at the foot of the mountain for a period of time, live on the mountainside for a period of time, run back before the mountain, climb the mountain countless times to look at it, and finally the whole mountain is clear in the heart, and when you want to paint, you can set it up. In one painting, the foot of the mountain and the mountain are seen, the front and back of the mountain are viewed together, and the summit and the mountains stand side by side, which is the so-called "high, far-reaching, and flat". Not bound by perspective, not limited by the field of view, the landscape and grass are one by one, and the smoke clouds and mountains are reversed. The ancients called this method as swimming and seeing, wandering and loving.
The landscape gaze is a perceptual way of viewing not only from one side of the time, but also a perceptual way of turning the viewing into the chest and the whole of heaven and earth. This sketch is intended to call for the view of mountains and rivers to be transformed into a perceptual way of observing the world and understanding nature.
Northern Song Dynasty Guo Xishan Travel Map Collection of Yunnan Provincial Museum
The mountains stop and the river travels, and the wind rises. Chinese always has a deep-rooted attachment to the landscape in his heart. What is a "mountain"? Mountain Maker, Xuanye. Xuanqi is dispersed, and all things are born. The mountain represents the dispersal of the earth's qi and the root of the vitality of the universe, so the mountain lord is born, showing a kind of upward trend. Therefore, we see the vast mountains in Guo Xi's "Early Spring Map" and Fan Kuan's "Xishan Travel Map", and we see the mountains stretching in Wang Ximeng's "A Thousand Miles of Rivers and Mountains" and Huang Gongwang's "Fuchun Mountain Residence Map".
What is "water"? Water people, junya. The meaning of "level" and "level". "Good is like water, and water is good for all things." In contrast to the mountain, the water lord is virtuous, presented as a flat trend and a harmonious trend. So we saw the river water soup in "A Thousand Miles of Rivers and Mountains" and "Fuchun Mountain Residence Map", and turned thousands of times. Jing Hao has a saying: The image of mountains and rivers is born with momentum. It is this kind of landscape trend in the process of dispersion and convergence, in the lifting and rising and falling, rising and turning, and tending to be different, so as to practice and show the different moods and different charms of all things.
Landscape is not one thing, landscape is all things, it is essentially a world view, a comprehensive "true view" about the world. The so-called "true vision" is a complete picture of the world that transcends one's instantaneous feelings and constitutes a complete picture of the world according to the totality of life experience. This kind of picture is the humanistic world of landscapes, and it is the "true vision" of landscapes who put their life's experience and mind into the gathering and dispersion of landscapes and clouds, and incorporate the ups and downs, warmth, instability, light and shade of reality into their inner observations, forming the existence of "mind and object travel".
This special exhibition exhibits the volume of Huang Gongwang's "Fuchun Mountain Residence Map" of "Leftover Mountain Map". Huang Gongwang is a little tall, but he can paint the meandering turns of a river and the landscape into a mountain dwelling, and can overlook thousands of miles from the height of a god and pick up mountains and rivers. It is precisely this method of wandering the eyes that he uses, and it is precisely this kind of "true vision" that reflects the mountains and rivers.
Southern Song Dynasty, Li Tang, Haoliang Autumn Water Map, Tianjin Museum Collection
Breathe out the vitality in the painting
Many years ago, I admired Guo Xi's Early Spring Picture of the Northern Song Dynasty at the National Palace Museum in Taipei. This work painted on thin silk may have had a light color, but a thousand years have "boiled" it into the lustrous brown color it is today. We see a fantastic mountain ravine wrapped in layers of smoke clouds, quiet and distant, majestic and vibrant. This is the scene in the mountains when early spring is approaching - winter turns to spring, the earth awakens, and a faint mist floats in the mountains, and the news of spring is heard.
Looking further closely, the distant mountains are stacked and majestic, and the strange stones near the hill are towering, and the ancient trees are jagged. This is probably the most alive forest in the world. The trees are growing new leaves, a spring of life. On either side of the towering boulder in the center, there are wonderful landscapes, and below the boulder on the left is the misty water, and the family is waddling down from the boat. On the mountainside of Panhuan, there are farmers walking in their robes. On the right, a waterfall stacks on top of a waterfall, pouring into the peach blossom pool, and above the waterfall is a building with a steep cornice, which is clearly a house hidden in the mountains. Looking upwards again, the mountains flipped up, and between the smoke clouds, layers of peaks faintly appeared, and the trees on that peak spread out in the wind.
Looking at this painting, it is like walking in the scenery below the mountain, in front of the mountain and behind the mountain. We can interact with heaven and earth in these landscapes, this is Chinese painting, this is Chinese landscape. What we see in the painting is not only the landscape, but also the world of encountering a landscape. What opens before our eyes is not a lens, but a viewing and experience that makes our bodies shuttle here and our hearts breathe out their vitality here. This is Chinese painting, which is completely different from Western painting and photography.
In these vivid and beautiful paintings, we also feel the beauty of pen and ink, which best reflects the shape of the landscape. We can also feel a sense of game and witness a human style from these vivid brushstrokes. It is this method of "drama" that is the freest and most effective way to bring us into the experience of "elephants". The "image" is neither a natural object nor a mental image in pure consciousness, but a vast intersex world between natural objects and pure consciousness. In this "elephant" experience, we enter the world of Chinese painting and enter the world of poetic habitation.
Chinese painting allows us to obtain the poetry of body image, the poetry of life. Along this "Early Spring Map", we can step by step into the depths of perception, into the depths of the invisible spirit of Chinese landscapes.
Southern Song Dynasty Ma Yuan Song Shou Tu Collection of Liaoning Provincial Museum
There is no end to words
In the Song Dynasty, there was also a category of literati painters, the most outstanding representative of which was the great poet Su Shi. Su Shi was the first to propose the term "literati painting" to deal with professional painters in art academies. He wrote: "The painting of the spectator is like reading the world and taking what he wants. He inscribed many times in the inscription of the painting: "The text is based on the heart of Dawu, and the painting is only suitable for my wishes." As a poet, Su Shi emphasized the heavenly machine and poetic originality of painting, but he did not belittle the importance of "art", and attached great importance to the combination of Tao and art. He wrote: "If there is a way but not art, although things are shaped in the heart, they are not in the hand? ”
Su Shi's paintings are rare in the world, and only "Dead Wood Strange Stone Diagram" and "Xiaoxiang Bamboo Stone Diagram" are seen today. The stem was unprovoked, and the stone was strange. Why draw dead wood monsters? Why should wood wither and stone be strange? Because the dead wood and strange stone are amorphous, it is conducive to putting pens, pen and ink bones, easy to shape, to make a chest in the middle, in order to seek heroic vigor. According to Su Zhi's recollection, Su Shi often entered the Kaiyuan Temple to view murals in his early years, and "often entered the temple on horseback and followed the wall all day long." The murals of Kaiyuan Temple have Wu Daozi's double hook thin color, and Wang Wei's ink bamboo, which directly skimmed the shape with an ink pen, which made Su Shi particularly favorite. Wen Tong's "ink bamboo" also had a great influence on Su Shi. That weeping bamboo descended from above, but the momentum of Qingyun gave Su Shi the deepest nourishment. In his "Xiaoxiang Bamboo Stone Map", three green bamboos, two stubborn stones, a touch of Xiaoxiang forest shadow, smoke in the air, green bamboo is uncertain, anything, it is the artistic conception of the wind and smoke, and the Tianshan Mountains are the same color. The dot painting is free, the stone is swaying, and the dappled places are swaying the passage of time. The spirit of academic articles, lush and delicate, comes from pen and ink, and has the most transcendent charm.
Huang Tingjian, a famous writer and painter of the Song Dynasty, said in a poem: "A hill and a valley can drag the tail". "Tail dragging" refers to the turtle in "Zhuangzi Autumn Water" who is enjoying itself in the mud. A hill and a valley are sympathetic landscapes. People are self-sufficient in the mountains and rivers, showing the purity and nobility of traditional literati, especially the reclusive literati. Although one hill and one valley are limited, they evoke Hengyuan's positive thoughts with a certain solid depth, endowing people with the fullness of self-sufficiency and self-pleasure, and the nameless aspiration of "dancing in the wind and returning home". This directly constitutes the boundless capacity and meaning of the landscape world.
Be weathered and follow the past. This special exhibition is called "Song Yun Jinhui", where is Song Yun's root? Yan Yu, a poetry critic of the Southern Song Dynasty, said in "Poetry of the Waves": "Like the sound in the air, the color in the picture, the moon in the water, and the image in the mirror, the words are endless and the meaning is endless." "Endless words, infinite meaning, or infinite meaning expressed in limited words, is the realm that Song Dynasty poetry and painting want to achieve."
In the Chinese conception of theory, truth can only be discerned by the enlightened mind. Zhu Xi believes that with all his heart, he can know the sky intellectually. When the superior mind reflects the image of nature, it is more real than nature that has not been explained by the mind. Such art reveals a credible image of the visual world. This is exactly what the literati and critics of the Song Dynasty carefully pursued, and it is also what we always remember when planning and organizing this exhibition.
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