In terms of painting style, Huang Gongwang advocates nature and pays attention to freehand. He pays attention to the creation of the teaching method, often goes deep into nature, carefully observes the changes in nature under wind, fog, rain, snow, air and sunshine, captures the different scenery of the four seasons, and explores the spirituality of ancient wood springs in deep mountains and valleys. He attaches great importance to the sketching of scenery, emphasizing the observation of actual scenes and the real feelings in life, so the landscapes he paints have a strong vitality and vitality. He lived in the area of Fuchun Mountain in Yushan Mountain all year round, often carrying paper and pencil to depict the natural beauties of Yushan, Sanjing, Jiufeng, Fuchun River and other places. He carried a pen and paper with him, and when he saw the scenery that excited him, he immediately copied it down. Because his creation comes from his personal feelings about natural scenery, he combines the emotions of indifference and tranquility with the charm of the landscape, so he has reached the most beautiful realm of natural blending. His brush and ink are simple and elegant, and his style is vigorous and majestic. He created shallow landscapes, and his painting style was majestic, simple and bright, which had a great influence on Ming and Qing landscape paintings.
Imitation monk Juran Shan Nuan Cui Tu Yuan Dynasty Huang Gongwang
Huang Gongwang, because of his perennial activities in the water town of Jiangnan, the unique natural landscape of the south gave him a profound infection, compared with Song Guoxi's "three fars" to modify and innovate, "Writing Landscape Tips" Yun: "The mountain theory of three far, from the bottom connected continuously, called pingyuan; from the near to the opposite, said to be broad; from the mountain outside the vista, said to be high and far." He replaced Guo Xi's "far-reaching" with "broad and far-reaching", reflecting his new pursuit of landscape painting. His works emphasize the ethereal waters, the vast emptiness, and the intimate and peaceful visual feeling of people, and this kind of prosperity and naïve conception is the correction of the rich and colorful painting style of the Southern Song Dynasty, which has a profound impact on future generations. From his heirloom works, we can see this seemingly ordinary and simple but deeply emotional painting style, especially after he changed the law in his later years, he exerted this spirit to the extreme, reaching the realm of "intentional or unintentional, if it is indifferent".
Dongting Qifeng Figure Yuan Dynasty Huang Gongwang
Since Huang Gongwang turned his spiritual sustenance to art and religion, immersed himself in cultivation, "greeting the calm qi and removing the restlessness", "the calm mind is weak, the intention is light, the desire is light, the desire is clear, the bright is virtual, and the void can absorb all the realms", his artistic accomplishment and mental state are reflected in the picture is to wash away the lead, naïve and natural, there is no intricate variety pursued in the Landscape of the Northern Song Dynasty, nor the exquisite carving of the Southern Song Landscape, less sword-rattling, more plain and innocent beauty. This is where he developed on top of the teacher's creation and the tradition of the teacher. He attaches great importance to observing nature, but has a different way of observing than his predecessors. The "shallow landscape" he created transcends the traditional theory of "color with class" and is in stark contrast to the Song "green landscape". He only used light ochre to show brilliant colors, and was rated by posterity as "thick peaks and thick grasses". He was able to jump out of the Confinement of the Song Dynasty, and although he was traditional, he was not restricted by the so-called "reason and law", paid more attention to the "source of the heart of the law", and emphasized "fun, excitement, and freehand".
Tianchi stone wall diagram
Plain nature is the most important feature of Huang Gongwang's paintings. Huang Gongwang was the master of Dong Yuan, and the style of Dong Yuan's paintings was plain and innocent, and the formation of this style was related to the painter's state of mind on the one hand. The "lightness" praised by Zhuangzi, a kind of ordinary heart that does not seek fame and fortune and is natural, is the highest realm pursued by chinese literati, and Huang Gongwang's thinking has been influenced by this. On the other hand, it is also related to the use of pen and ink: temperament neutralization, pen center. Huang Gongwang is mainly centered, using both flanking, not hurrying, calm, or cloaked in numbness or long points and short points, implicitly implied, without the slightest trace of carving, plus Pingyuan composition, soil slope forest, river and lake reed willow, light ink mountain, neither the danger of rock, nor the hero of the mountains, plain and innocent nature. "Fuchun Mountain Jutu" is the representative of this style, and it can also best represent Huang Gongwang's painting achievements.
Fuchun Mountain Residence Map - Useless Division Volume (Partial)
In terms of painting skills, Huang Gongwang pays great attention to the use of pen and ink. He painted with the cursive brushwork of calligraphy. In terms of technical appearance, his landscape painting has two types of styles, ink painting and shallow painting, Ming Zhang ugly "Qinghe Calligraphy and Painting Boat" said: "There are two kinds of painting grids: a kind of light color, the mountain is rocky, and the gesture is majestic; one is an ink painter, with very few wrinkles, and the brushwork is particularly simple and far-reaching." "The so-called shallow landscape, that is, after the dyeing, with a faint ochre and flower blue depending on the picture situation for layers of rendering, ochre can be used to express the bare mountain stone, flower blue can be used to express the vegetation on the mountain, especially suitable for the expression of the light and beautiful scenery of the Jiangnan landscape, but also suitable for most of the literati at that time to pursue the simple aesthetic taste." Such as "Fuchun Mountain Residence Map", "Tianchi Stone Wall Map", "Danya Yushu Map" and so on. Ink landscape, less wrinkles, with a simple and sparse pen, in the soft beauty to see the strength, the method is mostly slightly curved cloaked, the shade or concave part of the mountain is sometimes slightly rendered with light ink, in order to distinguish the yin and yang to the back, so that the whole picture both retains the elegant atmosphere without losing the sense of thickness. Such as "Water Pavilion Qingyu Map", "Fuchun Daling Map", "Jiufeng Xueji Map", "Qing map volume when the snow is fast" and so on.
Fuchun Daling Tu Yuan Dynasty Huang Gongwang
Huang Gongwang developed Dong Yuan and Ju Ran's Phi Ma Zhen to the extreme, combined with the use of raw rice paper, to create a thick southern landscape painting. Zhao Mengfu, the leader of the "Togu Reform System" in the Yuan Dynasty, vigorously rejected the Southern Song Dynasty, pursued the Northern Song Dynasty, and studied the Jin and Tang Dynasties from afar. But his painting style is changeable, so it has no fixed appearance. It was Huang Gongwang who really realized the meta-painting transformation method. Although Huang Gongwang studied under Zhao Mengfu, he studied Dong and Jushan painting more, and he pushed Dong and Jushan painting into the mainstream of the painting world. It can be said that through the efforts of Huang Gongwang, an era of Shifa Dongyuan was opened up, which completely changed the style of painting in the Southern Song Dynasty, thus promoting the arrival of the second peak of Chinese landscape painting.
In the Yuan Dynasty, pen and ink were not revered to the highest position as in the Ming and Qing dynasties, but the changes in Huang Gongwang's pen and ink in the "Fuchun Mountain Residence Map" are indeed quite wonderful. The use of raw paper in the Yuan Dynasty is more common than that of the previous generation, and the water leakage of raw paper is unattainable by silk, etc., and the pen and ink are rich in changes on raw paper, which is also more conducive to the lyrical temperament of the Yuan Dynasty scholars. "Fuchun Mountain Residence Map" was drawn by Huang Gongwang on the semi-finished product of bark cotton paper, which greatly strengthened the change of pen and ink. The influence of yin and yang dialectical thinking in traditional Chinese culture on traditional Chinese art is huge and direct, which is reflected in the brush and ink used in painting, that is, virtual reality, thickness and density. Wang Shigu said: "Whoever makes a picture, the pen is thick and thin, thick and light, dry and wet, and the party is a good hand, and if it is uniform, it is light." "The pen used in "Fuchun Mountain Jutu" is like this, such as its use to outline the tree shape, just look at one of them (the side of the trunk), you can see the contrast between the thickness, thickness, dry and wet, and virtual reality formed by the traces of the pen turning on the paper, and the two pens look together (the tree shape formed by the double hook), and there is a contrast between the thick and light, the thickness, the wet and dry, the virtual reality, the contrast between the front and back, and in the overall contrast, it is very harmoniously unified in a large ink color and atmosphere. And this is just the brush and ink used to paint the tree, and it is also the same for the whole picture.
Qingtu when the snow is fast, The Yuan Dynasty Huang Gongwang
Huang Gongwang pushed the new style created by Zhao Mengfu in paintings such as "Wuxing Qingyuan Tu" and "Quehua Autumn Color Map" to a new height because of his "Fuchun Mountain Jutu". His paintings are like lines of kai, which seem to be done in one go, but they are not hastily acted, and the agility and freedom of the paintings are all issued at the end of the pen, and out of the chest, it seems to have reached the realm of the unity of heaven and man. In short, the lyrical and freehand spirit of Landscape Painting in the Yuan Dynasty is vividly expressed here. Therefore, this painting is of great significance to the history of landscape painting, whether it is for Huang Gongwang personally or for the Painting of the Yuan Dynasty.