Liang Kai Splash Ink Immortals Ink Painting on Paper 48.7×27 cm Collection of the National Palace Museum, Taipei
Splash Ink Immortal Diagram: Splash Ink and Zen
"Splashing Ink Immortal Figure" is a representative work of Liang Kai's reduced strokes, which depicts the drunken state of the immortals walking in a relaxed ink splashing method, and then exaggerates the intoxicated look with a sense of humor with a simple and thin brush. Liang Kai also became a model of great freehand that later generations of painters liked to follow. However, this so-called "splash of ink" is completely different from the "splash of ink" created by Zhang Daqian today.
Zhang Daqian splashed ink without a pen, but put the ink or pigment in the bowl, directly splashed the ink or pigment on the painting with his hand, and then appropriately guided it with a pen according to the traces of its natural formation. Liang Kai's splash of ink is first used to "dip ink method" in the thick pen full of thick, light ink that has not been completely mixed, and then with the pen in hand, according to the program, quickly apply vertical smearing on the painting, so that the remaining thick and light ink color naturally penetrates, like ink spilling, but leaving the trajectory of the pen. Strictly speaking, Liang Kai's splashing ink is caused by the use of a pen, which has the meaning of splashing ink, and there is no splashing of ink. This kind of expressive and extremely difficult painting technique has been highly respected by generations, and countless painters have been worshipping The Saint Ming, the Ming Dynasty, the Qing Dynasty, the Jinnong, and even now.
The production of the "Splash Ink Immortal Figure" is inseparable from the prevalence of Zen Buddhism in the Southern Song Dynasty. This icon is titled after posterity, and judging from the image of its big head and bulging abdomen, it is a bit like the cloth bag monk believed in by the people at that time; the description of its spiritual posture is a bit like that of the Ji Qiang monk at the same time as Liang Kai. This diagram not only embodies Zen thought, but is also an inevitable product of the Southern Song Dynasty in which Liang Kai lived. From another point of view, it also fully reflects Liang Kai's bold innovation spirit of the figure painting system. From this, it is not difficult to find out why the paintings of the Southern Song Dynasty and Liang Kai were sought after in Japan.
Liang Kai Eight High Monks Story Scroll
Southern Song Dynasty Liang Kai Eight High Monks Story Picture Scroll Silk Coloring Shanghai Museum Collection
There are 8 segments in the figure, each of which is 26.6 cm long and about 64 cm wide. The relics of the 8 senior monks from the Southern and Northern Dynasties to the Tang Dynasty are depicted separately. On the trees, stones and hulls of the second, third, fifth and eighth sections of the figure, the author's fine letters signed "Liang Kai" are signed paragraph by paragraph, and after each picture, the story of the poster book is attached. Figure 1 "Dharma Face Wall, Divine Light Reference"; Figure 2 "Hongjin Tong Body, Dao Feng Cane"; Figure 3 "Bai Ju Yi Gong Guru • Bird FingerIng"; Figure 4 "Wisdom Idle Broom and Hui Hui Bamboo Forest"; Figure 5 "Li Yuanyuanze Boat and Woman Walking"; Figure 6 "Guanxi Sog drinking and tong zi Fang Ji"; Figure 7 "A corner of the restaurant • Louzi Visiting"; Figure 8 "Lonely Peng Lu'an • Monk Leaning On the Fishing Cart". The vivid characters of the scroll and the neat and bold brushwork are Liang Kai's early works.
This volume was once collected by the Qing Dynasty court, and the compilers of the "Secret Hall Zhulin Continuation" were neglected to investigate, and did not notice the small characters of Liang Kai hidden in tree trunks, stone surfaces and ship hulls, which were mistaken for "Song people without money paintings". After identification, it is indeed liang kai's authentic handwriting, which has been correctly named Liang Kai's "Eight High Monks Story Map" volume.
Southern Song Dynasty Liang Kai Eight High Monks Story Scroll (Partial)
Southern Song Dynasty Liang Kai Eight High Monks Story Diagram (Partial)
National Treasure of Japan Liang Kai Out of the Mountains Shakya Map / Snow Landscape Map
Southern Song Dynasty Liang Kai Shakya out of the mountain scroll silk color 119×52 cm Japan Hinohara Xuanzang
Shakya stood next to the dead tree in a single robe, his hands raised to his chest, his eyes looking down slightly, his face thin and his hair long. Although it was winter and the belt was fluttering in the cold wind, Shakya did not seem to feel the cold, did not have the slightest state of freezing, but looked concentrated, and the more he entered the mountain after practicing enlightenment, his will was strong. The painter paints the stacked clothes with strong lines, uses the pen to be rigorous, and is particularly good at portraying the character's expression; the dry branches of the canggan and the hardness of the pen are very good, which sets off the environment very well. The slope stone in the background is slightly outlined, and the painting method of the tree stone can also be seen to be influenced by Li Tang, which is a more craftsmanship painting compared with its legendary miniature figure painting. The stone wall on the left side of the painting is signed with the six characters of "Imperial Front Drawing Liang Kai".
Southern Song Dynasty Liang Kai Snow Landscape (1) Tokyo National Museum Collection
Southern Song Dynasty Liang Kai Snow Landscape (2) Pastel on Silk 110.8 × 50.1 cm Tokyo National Museum
"Snow Landscape Map" is a masterpiece of Liang Kai's landscape painting, which depicts two donkey riders wearing white cloaks and snow hats walking through the valley. The two old trees on the right side of the picture, with their crooked branches and sparse leaves, are depicted by Liang Kai with meticulous brushwork. In the middle of the picture, the dense forest is painted with clusters of dots, while the mountain pen is less, and the sky rendered in light ink gives people a feeling of snow, and the whole picture presents a desolate and desolate atmosphere, which can be called the classic of the Landscape Painting of the Southern Song Dynasty. The Tokyo National Museum describes the painting as follows: "The work shows the huge landscape space unique to the desert against the background of the snowy mountains, and the tiny presence of donkey riders and geese is also delicately expressed, which can be described as a masterpiece that shows that Liang Kai is also good at precision painting style."
In the middle of the fourteenth century, the Ashikaga family, the shogun of the Muromachi shogunate who ruled Japan at that time, was so fond of Chinese art that the monks traveling between China and Japan collected a large number of works of art and calligraphy in China to dedicate to General Ashikaga, including many authentic works of Liang Kai, including the "Snow Landscape Map" and many other authentic works of Liang Kai. After the "Snow Landscape Map" was transmitted to Japan, it was first accepted as the "Higashiyama Imperial Relic" of the Ashikaga Shogun's family, and was appreciated in groups of three, and the middle of which was "Deyama ShakyaTu" (Higashiyama Imperial Treasure refers to the tea props that General Ashikaga Yoshimasa evaluated and collected at Higashiyama Villa in beide). It was collected by the Sakai and Mitsui families of the Kohama Domain in Wakasa (present-day Fukui Prefecture), and was finally purchased by the Tokyo National Museum in 1948 and designated as a national treasure in 1951.
Painting madman: Liang Kai
Liang Kai , who was active in the early thirteenth century , date of birth and death unknown , was a native of the Southern Song Dynasty , whose ancestral home was Shandong , and who lived in Qiantang ( present-day Hangzhou ) after crossing the southern border. He was a great calligrapher of China and Japan, who served as the most senior court painter in the Southern Song Dynasty Ningzong, and the emperor specially gave him the highest honor golden belt, but Liang Kai did not accept it, hung the gold belt in the courtyard, and drifted away, not wanting to be subject to others at all. He was a painter with a very special personality, good at painting landscapes, Buddhist taoism, ghosts and gods, teaching Fa Jia Shi Gu, and being blue out of the blue. He likes to drink alcohol, and his behavior after drinking is informal, and he is known as "Liang Feng (crazy) son". Liang Kai's works include "Six Ancestral Bamboo Drawings", "Li Baixing YinTu", "Splash Ink Immortal Diagram", etc., but the "Splash Ink Immortal Diagram" is the most famous.
Southern Song Dynasty Liang Kai Pro Silkworm Picture Scroll Collection of cleveland art museum
Southern Song Dynasty Liang Kai Right Army Book Fan Diagram The Palace Museum in Beijing
The picture depicts Wang Xizhi as the story of the old woman's book fan. On the right side of this painting there is an inscription of Liang Kai, which was added by later generations, and at the end of the volume there are inscriptions of Zhao Youyan, Zhang Yuan, Qian Liangyou, Zhang Shichang, Shi Yan and others in the early Yuan Dynasty, and the style of the stick figures is imitated from Liang Kai.
Southern Song Dynasty (biography) Liang Kai Dai Xuegui Fishing Tu Tuan Fan Collection of the Freer Museum in the United States
Southern Song Dynasty Liang Kai Cloth Bag Monk Chart Page on Bozang
Southern Song Dynasty Liang Kai Liuzu Bamboo Drawings Ink Pen 73× 31.8 cm Collection of the Tokyo National Museum of Japan
The picture depicts the six ancestors of Zen Buddhism crouching with a sword and cutting bamboo. The Six Patriarchs were the Tang monk Huineng, the founder of the Southern Sect of Zen Buddhism, who advocated the Method of Epiphany. The painter paints the characters with refreshing folded reeds, with few pens and the shape of the gods, and only slightly tickles the eyebrows, noses and ears, although the figures are silhouettes, and the focused and free look jumps on the paper. The trunk behind the character is directly used to fly white light ink, and there is no dyeing, and the bamboo is not double hooked. The whole picture was slightly sloppy with brush strokes, which was a bold innovation at that time, enriched the expression of figure painting, and had a certain impact on the creation of figure painting in later generations. On the left side of the frame, the word "Liang Kai" is signed.
Liang Kai Rokuzu TearIng Drawings Ink Pen 70×30.3cm Mitsui Memorial Museum of Art, Japan
"Six Ancestors Tearing Scripture Map" is also known as "Ancestral Master Broken Scripture Map", "Six Ancestors Statue", "Six Ancestors Diagram" and so on. At the bottom right of the frame is a "Daoyou" collection seal. It has been collected by Toyotomi Hideyoshi, Nishimotoraji Temple, and Naoryo Matsudaira.
Liang Kai painted a famous painting "Six Ancestors Tearing Sutra Diagram", which depicts the scene of Master Liuzu Huineng holding the Buddhist scriptures that he had torn apart, screaming wildly, hysterical scenes, and the painter showed the cynical frenzy of the Six Ancestors when they defied the old traditions of Buddhism, and expressed them vividly with dry burnt ink brushstrokes, which made people excited and the viewer was deeply affected.
The style of the drawing is very close to the "Six Ancestors Cut Bamboo Diagram" now in the Tokyo National Museum, the lines are extremely expressive, the monk's clothes are simple and sharp with thread, the pine needles and branches are crisp and clean with the pen, the facial features of the eyebrows and the sutra scrolls are sketched in light ink, and the frantic and cynical appearance of the six ancestors Hui can tear the scriptures has jumped on the paper.
Southern Song Dynasty Liang Kai Taibai Xing Yin Tu Ink and pencil on paper 81.2 × 30.4 cm Collection of the Tokyo National Museum
"Taibai Xing Yin Tu" is one of liang Kai's representative works of character painting. In just a few strokes, the charm of the "poetry immortal" that is flowing and full of talent is exquisitely sketched. The painter does not stick to trivial details, but highlights the personality characteristics of the poet, selects the instantaneous movements that best reflect the poet's mental state and thoughts and emotions, and describes them roughly. Although it is a sloppy brush, it is concise and concise, with one as ten, without any sculpting. The embodiment of the character charm has reached a new height. After the transformation of the figure painting from Liang Kai, it entered the level of freehand from the transmission of the gods, proud and forgetful, and the painter's spiritual creation obtained a greater space.
Song Liang Kai Cloth Bag Monk Figure Silk Color 82× 33.2cm Collection of the Xiangxue Museum of Art, Japan
Painting the bust of the cloth bag monk, the composition is concise and powerful, the pen is concise and extensive, especially the cloth bag monk's robe is the most prominent, a few strokes, the look is vivid, as if painting the mountain stone as majestic and powerful, but also does not lose the soft and casual of the robe, full of penmanship, heavy ink rendering. If you remove the upper body of the budai monk without looking, its composition seems to be a majestic distant mountain, steady and broad, and when the round skull of the cloth bag monk is large, it turns to the use of fine and smooth brushwork, drawing eyebrows, lips and teeth with a work pen, smiling, and its indifferent and laughing demeanor is vividly expressed, although there is a cynical attitude, but it also shows the other side of its generosity, benevolence, compassion, and compassion, which is also a portrayal of Liang Kai's attitude towards the world.
Song Liang Kai (old legend) Han Shan picked up the axle of the Museum of Fine Arts, Boston, USA