Text/Zhang Yue
A thousand-year-old moment in the sea market,
Dengzhou Taishou has psalms.
Why should Xu Gong go to the East,
Today's Shenzhou Ten Thousand Immortals.
concentrate:
(1) Sea market: Mirage
(2) Dengzhou Taishou: Su Dongpo appointed Dengzhou Taishou for only five days, and wrote the "Haishi Poem":
The eastern clouds and seas are empty, and the immortals are haunted by the void.
Shake the floating world, there is a shellfish hidden pearl palace.
Xu Gong: Xu Fuye.
One
Due to the influence of the vast sea and the unpredictable mirage, in the process of long-term historical evolution, Dengzhou has formed the Chinese Eastern Penglai Myth corresponding to the Kunlun myth in the West of China.
The goal and final destination of the myth is to become immortal. There are immortals living on the island, and the immortals are happy and immortal, what a fascinating divine realm immortal, which is the main content of the eastern Penglai mythological system.
The prototype of the immortal is man, the immortal is the idealization of man, and the fairyland is the ideal stage of life, so many contents about the fairyland have appeared, of course, the center is still around the activities and desires of people.
Just like this article to describe a picture depicting the magnificent scenery of the Pengying Islands in the East China Sea - "Danshan Yinghai Map".
The fame of the main Penglai Sanxian Mountain is too great, and the legend of the Three Gods Mountain and the rise of the sea immortal activities of successive emperors have laid the foundation for Penglai's position as the source of Chinese oriental mythology, resulting in the word "Penglai" becoming synonymous with "fairyland".
"Yinghai" refers to the three mountains of Penglai, Abbot and Yingzhou.
So why do all the dynasties rise up to become immortals? Part of it is related to the war.
During the Warring States period, they all wanted to unify China, the war did not stop, people's lives were not guaranteed, and they longed for a fairyland that was otherworldly, which could not only be away from the harm of war, but also cultivate their self-cultivation and prolong their lives, so they imagined a fairy world under the inspiration of mythological fantasies.
Part of it is the development and rise of Taoism. After entering the Yuan, with the support of the rulers, Taoism flourished.
During the Yuan and Ming Dynasties, Taoist buildings arose on Danya Mountain on the Penglai Seashore, and the down-to-earth penglai ancestors had long built a Luzu temple on their own territory.
Newly built Taoist buildings such as Baiyun Palace, Lü Zu Pavilion, Lü Zu Statue Monument Pavilion, and Tianhou Temple. The original Taoist buildings such as the Dragon King Temple and the Lingxiang Temple were repaired and expanded, and the newly built Lü Zu Pavilion, Lü Zu Statue Monument Pavilion, and Baiyun Palace formed the basic pattern of the later Penglai Pavilion complex.
Taoism is the only indigenous religion in China, so Taoism has always attached great importance to the creation of gods and immortals.
"I said that my residence is even in the sea, don't be the first peak of Penglai." Penglai had formed an indissoluble relationship with the Eight Immortals very early on.
This Penglai City is where The Taoist Quanzhen Sect ancestor Lü Dongbin settled, and Lü Dongbin is one of the Eight Immortals. About Lu Dongbin's resume, you can also review my previous article.
The Southern Song Dynasty Hongmai "Yi Jianzhi" Volume IX "Yueyang Lü Weng" mentions Lü Dongbin's book "The Secret recipe of Jindan", which contains the sentence "A thousand days of achievement, the crane rides first to visit Pengdao"; the "Quan Tang Poems" contains two hundred and fifty poems by Lü Dongbin, which includes sentences such as "sitting alone in Penglai to view the universe, drawing a sword and swimming between the eyebrows".
The place of fluffiness is naturally loved by everyone, which can not only be away from the harm of war, but also cultivate self-cultivation. "Danshan Yinghai Chart" was created by the Yuan Dynasty painter Wang Meng, who also longed for a otherworldly wonderland, didn't he?
Wang Meng was a hermit who lived in seclusion in the Yellow Crane Mountains (present-day Linping Mountain, Yuhang) for decades in his youth, living a leisurely life of "lying on the green mountain and looking at the white clouds".
At the end of the Yuan Dynasty, Zhang Shicheng was based in western Zhejiang, and had been recruited as a scholar and a historian of Huangheshan, and after abandoning his official position, he lived in seclusion in Linping (present-day Linping Town, Yuhang, Zhejiang), and called himself Huangheshanqiao. This painting was made by him at the end of the Yuan Dynasty to hide in the Yellow Crane Mountain.
Wang Meng is a polysemantic word, this Wang Meng is not the contemporary writer Wang Meng, but the Yuan Dynasty painter Wang Meng.
The writer Wang Meng, a native of Nanpi, Hebei Province, was born in Beijing, a contemporary Chinese writer, scholar, and former Minister of Culture of the People's Republic of China.
The painter Wang Meng was a native of Wuxing (present-day Huzhou, Zhejiang). Yuan Dynasty painter, one of the four Yuan families.
Wang Mengshan painted landscapes, and his works had a great influence on Ming and Qing landscape paintings, and in his early years, he had close contacts with famous artists such as Huang Gongwang and Ni Zhan, and had received guidance from Huang Gongwang. Later generations referred to it together with Huang Gongwang, Wu Zhen, and Ni Zhan as the "Four Families of the Yuan".
Huang Gongwang here may know something, but let's talk about a painting, "Fuchun Mountain Residence Map".
"Fuchun Mountain Residence Map" is a classic work of Huang Gongwang representing his later style, one of the "Top Ten Famous Paintings in China".
After being burned into two sections more than 360 years ago, "Fuchun Mountain Jutu" was circulated, the last collection was in the Zhejiang Provincial Museum ("Leftover Mountain Map"), the other was collected in the Taipei National Palace ("Fuchun Mountain Jutu , Useless Division Volume"), under the joint promotion of the two sides of the Taiwan Strait, it was first exhibited in the National Palace Museum in Taipei in June 1, 2011, becoming the largest hotspot of the National Palace in Taipei, with a total number of visitors exceeding 500,000.
The first special exhibition of "Landscape and Water Convergence - Huang Gongwang and Fuchun Mountain Residence Map"
It was taken on June 1
"Fuchun Mountain Residence Map" after "combining" multimedia technology
"Leftover Mountain Map" (right) and "Useless Division Roll" (left).
But Zhiqian's "Map of the Remaining Mountains" is 31.8 cm long and 51.4 cm wide;
After the "Fuchun Mountain Residence Map" 33 cm in length and 636.9 cm in width.
The picture depicts the scenery on both sides of the Fuchun River in early autumn.
Among the "Four Families of the Yuan", if the most profound and extensive influence on the development of landscape painting in later generations is undoubtedly Huang Gongwang. He was the most senior and was directly taught by Zhao Mengfu, while Wang Meng was second only to Huang Gongwang, and also had the direct influence of Zhao Mengfu.
Because Zhao Mengfu was Wang Meng's maternal grandfather.
Wang Meng (1308-1385) Yuan painter. Zi Shuming, a resident of Xiangguang, was a native of Huzhou (present-day Wuxing, Zhejiang). Maternal grandfather Zhao Mengfu, maternal grandmother Guan Sheng, uncle Zhao Yong, and cousin Zhao Yanzheng were all famous painters of the Yuan Dynasty. Wang Meng's landscape paintings were directly influenced by Zhao Mengfu, and later he was taught by Wang Wei, Dong Yuan, Ju Ran and others to synthesize a new style.
Zhao Mengfu also needs to say that there are many calligraphy posters on the market now, if you are interested in calligraphy since childhood, you know the Yan body, the willow body, the European body, and there is also the Zhao body. Zhao Mengfu, whose writing style is charming and elegant, with a strict body and a mature penmanship, created a "Zhao body" book.
Zhao Mengfu (fǔ) (20 October 1254 – 30 July 1322), courtesy name Zi Ang, was a Han Chinese poet who was also known as the Crystal Palace Daoist and The Oubo, and was a middle-aged Man who signed Meng. A native of Wuxing, Zhejiang (present-day Huzhou, Zhejiang). A famous calligrapher, painter, and poet from the end of the Southern Song Dynasty to the beginning of the Yuan Dynasty, the eleventh grandson of Zhao Kuangyin, the grandfather of the Song Dynasty, and the descendant of Zhao Defang, the King of Qin; his father Zhao Youfu served as a servant of the Southern Song Dynasty and a pacification envoy of Zhejiang West of Zhilin'an Province.
Zhao Mengfu is erudite and versatile, can write poetry, understands economics, works calligraphy, fine painting art, is good at gold stones, tonglulu, and appreciates. In particular, calligraphy and painting achieved the highest achievements, creating a new style of painting in the Yuan Dynasty, known as the "Crown of yuan people". He is also good at seals, affiliations, truths, lines, and cursive writing, and is especially famous for his calligraphy and writing.
Wang Meng also had a great maternal grandmother, Guan Sheng.
Pipe Sheng (1262 – May 29, 1319), courtesy name Zhongji, was a native of Maoshan Village, Deqing, Zhejiang (present-day Maoshan Village, Ganshan Town), a native of Huating (present-day Qingpu, Shanghai), and a famous female calligrapher, painter, and poetry creator of the Yuan Dynasty.
In 1317 (the fourth year of Yanyou), Emperor Yuanren made Zhao Mengfu the Duke of Wei, and the title of Lady of Wei was promoted to Lady of Wei, and the world title of "Lady Guan" originated from this, and because of her calligraphy achievements, she and the female calligrapher Wei Shuo of the Eastern Jin Dynasty "Lady Wei", and called "Two Ladies of the Book World" in Chinese history.
Pipe Sheng Xiangfu taught his son, inherited the art of calligraphy and painting, cultivated future generations, "Zhao's one door" flowed for hundreds of generations, and three generations produced seven great painters. Zhao Yong, Zhao Lin, and Zhao Yan were crowned with names for a while. Wang Meng has another wife, who has been hearing about it since he was a child and is uniquely blessed.
Pipe Sheng composed a famous "My Nong's Words", the words and phrases are like this:
You and I, you and I, there are many emotions, there are many places, hot as fire;
Put a piece of mud, twist one for you, shape one for me.
Break the two of us together and mix with water;
Twist another you, shape another me.
I have you in the mud, and you have me in the mud:
I am born with you the same qin (chanting one sound) and die in the same guo (pronounced three voices).
The poetic romantic taste in the words and sentences of the mother-in-law, you and I, can be called a love classic. Good infatuation, good touch, good love.
It is said that when Zhao Mengfu was 50 years old, he wanted to emulate the famous concubines at that time, and he was embarrassed to tell his wife that Guan Sheng knew, and wrote this poem, and Zhao Mengfu could not help but be deeply moved after watching "My Nong's Words", and never mentioned the matter of concubines again.
We often hear the saying "don't forget the original heart", and the "my nong word" is also "the original heart", as if with the original heart, you can cope with all the successes and failures, happiness and pain, and love.
When we encounter temptations and challenges; when we have and lose everything; when we do everything before. Stick to your heart, and you can do things unchanged. Zhao Mengfu is well aware of the principle of husband and wife, and their union stems from common hobbies, writing and painting, commenting and appreciating together, and enjoying harmony.
"Life is a prince, and fame and profit are not free. Fight like, a flat boat, make the moon groan wind to go to Hugh. "The Fisherman's Word"
Pipe sheng yearns for a leisurely, free and light life, indifferent to the ordinary worldly fame and fortune. Wang Meng had such a grandfather and grandmother who was naturally not interested in the officialdom, and it was precisely because of this that he was able to create many great works of art.
This is also the original intention of being an artist. The motivation to do things, money is never the first.
Wang Meng's fair handwriting is roughly as follows:
"Summerhill Hermitage", to the fourteenth year of zhengzheng (1354), collection of the Frier Museum of Art.
"Xiashan Gao Hidden Map", to the twenty-fifth year of Zheng (1365), the Collection of the Palace Museum.
"Qingbian Hermitage", Zhizheng Twenty-sixth Year (1366), Shanghai Museum Collection.
"Map of Ge Zhichuan's Migration", collected by the Palace Museum.
"Map of Taibai Mountain", Collection of Liaoning Provincial Museum.
"Danshan Yinghai Chart", Shanghai Museum Collection.
Two
On the water surface of the "Danshan Yinghai Chart", the island island is jagged, and the hills on the island are layered and deep, the long pines stand tall, the stack houses are hidden, and the trees are dense. The island has a wooden bridge leading to the opposite bank, and the mountain is hidden by buildings deep in the mountains. The sea is vast and endless, and the boats are dotted and sailed.
Mountain stones mostly use the solution of the rope, the scorched ink dot moss, and the miscellaneous trees use the methods of clipping leaves, hooking leaves, and pointing leaves. This picture method is meticulous, the scenery is beautiful, and the artistic conception is open. It is extremely rare in Wang Meng's works, and it is another work of Wang Meng's complicated and flexible penmanship.
Although Wang Meng obtained the fa of his maternal grandfather Zhao Mengfu, he still made himself a face with Dong Yuan and Ju Ran as the sect. The writing scene is dense, and the layout is multiple mountains and rivers, showing the lush atmosphere of the forest.
In the "Painting History and Painting Essentials", it is said: "Wang Meng's landscape master is huge, and he even has to use ink methods." Yun Nantian, on the other hand, said that he was "Yuanzong Maji (Wang Wei)".
Dong Yuan and Ju Ran, in the history of Chinese painting, are also known as "Dong Ju".
During the Five Dynasties of the Southern Tang Dynasty, a group of talented landscape painters emerged in Jiangnan, and the Jiangnan Landscape Painting School was established, and the most influential painters were Dong Yuan and Juran.
"Danshan Yinghai Map" is his later works, and others include "Taibai Mountain Map", "Guqu Forest House Map" and "Qiulin Wanyuan Map".
Name: Danshan Yinghai Chart
Author: Wang Meng
Year of creation: Yuan Dynasty
Category: Chinese landscape painting
Material: paper, color
Size: length: 28.5 cm, width: 80 cm
Cultural relics in the collection: Shanghai Museum collection
At the end of the volume, there is an inscription by Ming Xiangyuan, and the canvas is self-titled "Danshan Yinghai Chart." Xiangguang resident Wang Shuming painting". The lower plutonium "Yellow Crane Mountain Tree" white text square seal. At the end of the volume, there are the master of the Yuanren Jin And Chen Fangbao, and there is the inscription of the Mingren Xiangyuan.
Comparing Huang Gongwang with Wang Meng's paintings in his later years, it feels that Huang Gongwang is frank and simple but still concrete, while Wang Meng is reckless and dense and tends to be freehand. The spirit of literati painting inspired by their paintings has a deeper understanding.
Wang Meng has his distinctive artistic characteristics: he likes to use dry brushes to dry his hair, create cattle hair, and sometimes use both to solve the problem or small axe to split the knot, and the method of writing is concise and mature, such as writing and cursive, and in his old age, the skill is getting deeper and deeper. Its landscape layout is full but not dirty, dense but not stuffy, and the pen is complex and rich in layering and space.
Niu Mao Zhen, the name of a Chinese painting technique. The same is true of the solution of the rope and the small axe splitting. There are also Phi Ma Chuan and so on.
The line is clear and clear, the ink color is thick, the linear undulating changes are large, the flexible, crossed lines, showing a long and short guilloching and rhythmic sense, the line pen is bent densely, such as the untied rope, hence the name. And multi-color light dye, appear thick and spicy and transparent and virtual, its pattern depth of field gradually closer.
After all, landscape techniques, pen and ink levels, etc. are also an important part of appreciating landscape painting. The pen and ink itself, such as a line, a point, a lump of ink, can not explain what it expresses, only by using it as a means of modeling, can it be transformed into a concrete image in the painting.
Because landscape painting wants to show the complex level of the scenery and make people feel profound, it must be recognized and broken through the overlap of pen and ink, the contrast between each other, resulting in the effect of pen in pen and ink in ink.
Picturesque trunk, its texture is hard and straight, the form is tortuous and changeable, and the pine tree is an element that Wang Meng likes to express.
In the painting, the pine tree occupies a certain proportion, and its pine needles, the main trunk of the pine tree and the branches of the head are the same, more realistic and precise, and the line control when using the pen is loose and solemn, and the turning point of the pen should be straight and curved, soft and rigid.
Painting mountain stone, a variety of pen and ink changes, according to the needs of the shape, flexible use, the mountain stone surface of the undulating, front and back space distance, turning points, must be composed of different pen and ink changes.
The characteristics of this kind of brush and ink were originally the fine technical tradition of Chinese painting. You can't innovate without learning tradition.
Reckless and freehand, elusive, so Wang Meng's paintings are difficult to learn, and there are almost no true inheritors of them in the Ming and Qing dynasties. Huang Gongwang's simplicity and figuration seem to be in line with the wishes of literati painters, and his paintings swept the Qing Dynasty for nearly three hundred years.
But the deep things revealed outside the form of pen and ink, Chinese the elegant and gentle cultural spirit can be experienced in the painting!
Zhao Mengfu was the leader of the literati painting style of the Kaiyuan Dynasty.
In the Yuan Dynasty, literati painting entered a period of prosperity. Many literati placed their experiences and emotions on landscapes and engaged in painting. Wang Meng's painting style is deep and deep, using water halo ink dyeing. His landscape paintings also emphasize the taste of pen and ink, and the literati paintings emphasize ink interest, using the subtle changes of ink dry, wet, thick and thick, and thick and green, and summarize the gorgeous nature with simple ink colors.
Heavy nature is the highest value of Taoist doctrine, and nature is the fundamental spiritual place of the "Tao" and all things. The idea of nature in Taoist thought laid the foundation for the traditional Chinese literati painting tradition of focusing on the expression of personal ideas, but not looking at the visual culture of the shape. The Taoist framework of natural ontology has created the artistic characteristics of traditional Chinese literati painting in pursuit of "nature".
Penglai carries the spiritual dimension of countless travelers since ancient times, and also has Wang Meng's cultural accumulation for indifferent years. Transcend time, talk to the sages in the imagination, enjoy the mind, there is a world that is different from the earthly world.
Three
Someone said: Can you find the nearest fun place, go to the East Sea on the third of March to play, know Penglai, what else to go........
Someone else said: Four hundred million?
Friends who often go to the auction house come out to chat, which auction will be more exciting, which auction works are more cost-effective?
There is also such a state of creation here. No matter whose splendor, the wandering and exploration of the soul will unexpectedly reach the unattainable other shore.
On the evening of June 4, 2011, beijing Poly 2011 Spring Auction Night Show, Wang Meng's "Zhichuan Migration Map" of the Yuan Dynasty was sold for 402.5 million yuan, becoming the most expensive ancient Chinese calligraphy and painting works on the auction market in the spring of that year.
This price is second only to the price of Huang Tingjian's Pillar Inscription of 436.8 million in 2010, making it the second highest price of ancient calligraphy and painting on the auction market so far.
Due to the much attention of the lot, before the night of the ancient calligraphy and painting, the auctioneer announced that the bidding for Wang Meng's "Zhichuan Migration Map" required special bidding cards of more than 8,000. As of 7:30 p.m., 17 collectors had handled special bids.
After the auctioneer quoted a hammer price of $110 million, and finally after 19 bids, the lot was bid for $350 million by collectors holding bidding board No. 8086. With the addition of commission, the final transaction price reached 402.5 million yuan, becoming the most "expensive" ancient Chinese calligraphy and painting works in the spring of that year.
The "Map of the Migration of Zhichuan" mainly describes the story of Ge Hong's migration to Luofu Mountain in Boluo County of the Eastern Jin Dynasty. Wang Meng painted two paintings depicting Ge Hong's migration to Luofu Mountain, and the other, titled "Map of Ge Zhichuan's Migration", is currently in the collection of the Palace Museum in Beijing.
In the world, Wang Meng's stock of paintings and calligraphy is also more than a dozen, and most of them are in museums, there are several pieces of the Metropolitan Museum of Art in the United States, and the Palace Museum's "Ge Zhichuan Migration Map", but the style is different. This "Map of the Migration of Zhichuan" is the most important work of the great painter Wang Meng in the Yuan Dynasty.
The "Water Halo Ink Chapter" created by Wang Meng enriched the expression techniques of national painting. His unique style is manifested in "majestic vitality", skillful use of pen, "vertical and horizontal bizarre, indistinguishable".
Although the ink is only black and white, but white to black can still be other changes, more ink, less ink, ink depth, ink light, ink thin, ink thick, are different feelings of "ink five colors".
"Zhichuan Migration Map" and "Danshan Yinghai Map" are both changed and "complicated" with pens, and the style is consistent. Wang Meng's later works do not seek to be neat and similar, nor do they talk about purpose and value; they just go as they please, express their pen and ink interest, and write about the spiritual realm of the literati and ink guests.
"Danshan Yinghai Map" gives people a deep and lush, guiding the viewer into the strange seamount realm, and the layout is curved and twisted, which can be described as ingenuity.
"Zhichuan Migration Map" depicts the babbling of a small stream in the southern Maolin bamboo, Ge Hong riding on the back of an ox, his wife, children, and servants, all the way to the lofty mountains, waterfalls and springs, and several thatched houses hidden in the mountains.
Ge Hong (284-364 AD) was a Taoist scholar of the Eastern Jin Dynasty, a famous alchemist, and a medicinal scientist. Zi Zhichuan (稚川), self-proclaimed Baopuzi, was a Han Chinese from Jurong County, Jin Danyang County (present-day Jurong County, Jiangsu). The nephew of Ge Xuan, the Fangshi of the Three Kingdoms, was known as Xiao Xianweng (小仙翁). He was once made the Marquis of Guannei, and later lived in seclusion on Luofu Mountain to refine Dan.
The essence of painting is to shape the real objects in real life into an artistic image that has both gods and gods, and the fusion of things and me, so Wang Meng thought of the gods, painted a picture of a fairyland, thought of going into seclusion, and then drew a map of migration. In fact, Wang Meng lived in seclusion in the Yellow Crane Mountain in his later years.
The mainstream painting of the Yuan Dynasty was "literati painting", but this "literati painting" was different from the Song Dynasty and the Later Ming and Qing "Literati Painting", he had his ideals, but the reality of society made them unable to do anything, so "the poor are left alone", which is the ideal of Confucianism and the ideal of Taoism, and Wang Meng is a loyal fan of Taoism.
The works take the subjective intention of the painter as the source of creation, with a romantic atmosphere of self-enjoyment and self-transcendence, showing the inner spiritual activities, thoughts and feelings of life. The painting reveals the author's realisticism of the dense and rigorous picture scene and the idealism of longing for purity and purity of life.
Ge Hong and Wang Meng, although the two people live in very different ages and have very different identities, they have similar life experiences. He regarded Ge Hong as his spiritual sustenance and soul idol, and in the case of political darkness and social turmoil, all the glory and wealth were like floating clouds.
In the early Yuan Dynasty, Zhao Mengfu put forward the "ancient meaning theory", he advocated the combination of calligraphy and painting, and regarded "yiqi" as the highest pursuit of painting.
The poetic prints of this period also gradually entered the picture, not only becoming an integral part of the layout, but also directly expressing the author's emotions. The spiritual undertakings of the literati and scholars, through painting to express the elegance in the chest of the literati, the poetry, calligraphy and painting print complement each other, marking the perfection of the literati painting form.
There are poems written by seven scholars, great painters or great poets such as Han Sheng, Ni Zhan, Tao Fuchu, Chen Ze and others who were at the same time as Wang Meng or later. Among them, Han Sex was the teacher of Wang Mian, another great painter of the Yuan Dynasty, and the inscription poem of Chen Ze, who was called "Ten Talents" with Gao Qi and others, is the only surviving handwriting, which itself has extremely high historical value.
There are also nearly 20 collection seals of The Great Collector Xiang Yuanbian of the Ming Dynasty on the "Zhichuan Migration Map", which is extremely rare.
Use painting to dispel loneliness, use painting to achieve self-worth, one reproduces the physical situation in the museum, and the other in the world. Painting itself is to serve the society, "cover art as a thing, to touch people, to correspond to the spirit, to have this feeling, to have this spirit, and then to be able to touch people and can feel themselves." ”
Six hundred years of legendary life, the flood of heaven and earth beyond the historical realm, the mountains and rivers years to bear the world's changes, and all of this is the "interpretation" of today's people. 400 million worth!
Four
When people pursue the success of their careers and ideas, do not think that with this, there will be others.
Take the words of another Wang Meng, don't think that with fame you have credibility. Don't think that with achievement comes happiness. Don't think that with power comes desire. Don't think that if this thing is done well, the next thing must be done well.
Wang Meng would not have thought that after 600 years, the value of his paintings would reach hundreds of millions.
In addition to the rarity of Wang Meng's paintings and the pen and ink techniques of this Yuan Dynasty, the artistic conception expressed in the paintings is more important, which is to make the pen and ink consciousness and pen and ink spirit of Chinese painting go deep into the bone marrow and go deep into the folk. There must be something unexpected about putting a work into a macro era.
Wang Meng, who is 400 million, has no experience of the thrill of achievement, he is just a natural resident. His habitat is not only in the Yellow Crane Mountain, such a space must also be full of harmony, ideals and love, otherwise it would not have created so many heirloom landscapes, and the real essence of living is to keep the truth. Deeply understanding that a mountain and a pavilion is actually purifying the soul, no matter where it is, whether there is a charming scenery or not, maybe it is around.
And as we engage in artistic work, it is through the work of presenting a one-by-one photography, that at least can not be reduced to vulgarity, here can be for people can also be for works.
In the contemporary art trend, we must always have conscious independence, and always maintain an open attitude in the traditional pen and ink management. If you can't create a 400 million life like Wang Meng, at least in the world of the masses and artistic achievements can be one with the knowledge and action.
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