Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the paintings of the Tang Dynasty truly reflect the way of life and scientific and technological level of the people at that time, combined with the records of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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Datang was in the heyday of feudal society, the country was unified, the society was relatively stable, the economic prosperity and the frequent and active place of foreign economic and cultural exchanges, all of which brought new opportunities to the development of culture and art, so that the art of painting formed a brilliant situation, and a number of famous painters with great influence in history emerged.
The painting genre of the Tang Dynasty is still dominated by figure painting, the court office and temple murals account for a considerable proportion, the portraits of meritorious heroes continue to be praised, and the grottoes and temple murals have a greater development than the Southern and Northern Dynasties, and their scale and skill are unprecedented in history. The popular large-scale classic themes in the Buddhist temple murals have reached an unprecedented level, interspersed with a large number of life scenes, the humanized component of the Buddhist image created has been significantly enhanced, and even the phenomenon of using gongwa as a model to shape the image of the bodhisattva has appeared, and the devotees attached to the Buddhist temple murals occupy a larger wall, all of which shows the tendency of Buddhist painting to adapt to the good social good and tend to secularize. Here is an introduction to Li Sixun's paintings.
Li Sixun (651-716, 1st op. 648-713), outstanding painter of the Tang Dynasty. The word Jianjing, a building scenery. A native of Chengji, Longxi (present-day Qin'an, Gansu), he was the grandson of Li Shuliang the Prince of Changping, the cousin of Li Yuan of Tang Gaozu, the son of Shi Li Xiaobin, the governor of the former prefecture, and the uncle of the famous chancellor Li Linfu.
Famous for his military exploits, during the reign of Emperor Xuanzong of Tang, he was enfeoffed as the Duke of Pengguo, and was posthumously given the title of Governor of Qin Prefecture. He served as the Great General of the Right Wu Wei and was known as "General Li". The main works passed down from generation to generation include "Jiangfan Pavilion Map", "Royal Garden Lotus Drawing (Southern Song Dynasty Painting)", "Jiucheng Summer Escape Map Page (Chuan Li Sixun)", "Gongyuan Diagram Axis", "Gyeonggi Ruixue Diagram Fan", "Gyeonggi Ruixue Map", "Yangtze River and Absolute Island", "Ming Emperor Xingshu Map", "Spring Mountain Travel Map", "Fangju Langyuan Map", "Taizong Arrives at Jiucheng Palace", "Green Landscape Map", "Hanging Garden Spring Deep Map (Chuan Li Sixun Song Ren Painting)" and so on
During the Tang Dynasty, Li Sixun's "Jiangfan Louge Map" was appreciated
Tang Dynasty Li Sixun Jiang Fan Lou Pavilion Diagram Vertical Axis, Silk, Turquoise Color, Length: 101. 9 cm, horizontal: 54. 7 cm. Collection of the National Palace Museum in Taipei.
The author integrates the landscape hills and valleys and the dynamics of the characters, and clarifies that the landscape paintings of the Tang Dynasty have been intentionally intertwined and reflected in life and nature, and a bright spring scene. Paint Zhongshan stone with ink lines to outline the outline, stone green rendering. The overall posture is lush and decorative, and there are untouched mountain stones, undulating water patterns, exquisitely crafted houses, pattern-shaped sandwich leaves, which are very proportionate, and it can also be seen that traces of extraterritorial paintings can be seen.
Li Sixun is good at painting green landscapes, and is influenced by Zhan Ziqian and his pen is vigorous. The theme is mostly a secluded place. Among his works, there are scrolls of "Jiangfan Pavilion Diagram" collected by the National Palace Museum in Taipei, which depicts tourists moving around the river, sketching the outline of mountain stones with fine brushes, giving heavy turquoise and decorative. Although this painting is now recognized as a Song ren's handwriting, it can reflect his painting style. His son Li Zhaodao, a prince of the guanzhi zhongsheren, was also a famous painter, known as "Little General Li", adhering to family learning, and was also good at green landscapes and rivers, and his style was skillful and elaborate. This work is not Li Sixun's original, it should be an ancient facsimile. However, from the perspective of theme content and expression techniques, they all belong to the Li Sixun school and are an important work for the study of Li Pai's landscape. Qing Ren AnQi believes that this painting is "fu color ancient, pen and ink is super yi, although Qianli Xi is far from being able to distinguish its green vermilion ink, it has been passed down for a long time, deep through the silk back, there is a third point of the wood, the Tang painting is undoubtedly a Tang painting, and it is appropriate to live as a real handiwork."
During the Tang Dynasty, Li Sixun's "Lotus Picking Diagram in the Imperial Garden (Painting by southern Song Dynasty)" was analyzed
Tang Li Sixun "Royal Garden Lotus Drawing (Southern Song Dynasty Painting)" Palace Museum
This volume was donated to the Palace Museum by Mr. Wu Jingzhou in 1947 and donated to the Palace Museum in 1955, and there is a long title at the back of the volume, which is determined to be the "Lotus Collection Map of the Imperial Garden of General Li of Tang Dynasty" recorded in Zhang Ug's "Qinghe Calligraphy and Painting Boat". Later, after the examination of relevant scholars, this volume was written by the Southern Song Dynasty, although it was not from the hands of Li Sixun's father and son, it still reflected some characteristics of the early green pavilion paintings. The "Imperial Garden Lotus Drawing" volume, also known as the "Palace Garden Diagram" volume. There is no print on this canvas. It is said to be a Tang dynasty work, followed by Wu Jingzhou inscription, and plutonium "Ying" and "Jingzhou Appraisal" are printed in 2 directions. This volume depicts the summer scenery in the ancient palace garden, the palace building view, the house boat car is like a hair, the mountain stones are outlined with a fine pen, slightly wrinkled, heavy green and green color, while a large number of gold wires are used to outline the outline of the building and the water pattern of the net towel, brilliant and bright, rich in decoration.
During the Tang Dynasty, Li Sixun's "Ninety Percent Summer Vacation Chart Page (Passing on Li Sixun)" was analyzed
Tang Li Sixun's "Ninety Percent Summer Vacation Picture Page (Passing on Li Sixun)" At the Palace Museum in Beijing
There is no money in this painting. Inscription poems of the Qianlong Emperor of the Qing Dynasty. The seals of the collection of the Qianlong Inner House. "Shiqu Baodi" is included.
This painting is from the old collection of the Qing Palace, and is one of several paintings from earlier times that were passed down to the Tang Dynasty in the Collection of the Palace Museum. Qianlong inscription poem has the sentence "Jiucheng Qiongdian is stacked, and the hundred jade springs are turned", and it is believed that this figure writes Jiucheng Palace. In fact, the picture depicts scenes of aristocratic travel and amusement, dense and rich, full of pavilions and pavilions, between which people, kurama horses, boats and cars come and go. Although the painting method has the characteristics of the "Jinbi Landscape" school of General Li, it was actually composed by southern Song Dynasty painters.
During the Tang Dynasty, Li Sixun's "Palace Garden Diagram Axis" was analyzed
Tang Li Sixun's "Palace Garden Scroll", The Palace Museum in Beijing
There is no author's print on this canvas. This picture depicts the pavilions of the lofty mountains and mountains, and the characters shuttle back and forth. The landscape adopts a lofty and far-reaching composition method, which is extremely ethereal to the rocky ridges. The rocks are outlined with thick brushes and the lines are full of variations; some of the mountain body lines are simple and vigorous, and the ink pen is rubbed or covered with stone green and stone green; the ancient trees of long pine are exquisitely displayed with their surface texture and branches, and the crown of miscellaneous leaves is painted or painted with white powder, stone green and ink pens. The depiction of the building and the vessel in the figure does not use a boundary ruler, but the structure is accurate. The roof ridge and other places are covered with stone blue and stone green to represent glazed tiles, and the doors and windows are contrasting vermilion.
In addition, buildings, ships, mountain silhouettes and mountain clouds and other scenery are mostly depicted with gold lines on the basis of ink lines, and some mountains are directly painted with mud and gold dots, and the water patterns are purely made of gold wires, making the picture appear golden and brilliant.
The whole picture perfectly combines the fun between the mountains and the opulence of the palace, and is a masterpiece of landscape and pavilion painting with great decorative interest.
This picture was originally believed to represent the artistic style of the Li Sixun School of painting in the Tang Dynasty, but Mr. Fu Xinian, through scientific research on the various famous objects in the figure and the development of the Jinbi Landscape Painting School, believed that the upper limit of the era of this map was probably difficult to surpass the middle of the Southern Song Dynasty, and could not represent the painting style of Li Sixun's father and son, probably out of the hands of lin'an areas outside Lin'an who did not understand the system of the Tang Dynasty Palace Garden, nor saw the Song Dynasty Palace Garden.
During the Tang Dynasty, Li Sixun (biography) "Gyeonggi Ruixue Tu Fan" appreciation
Tang Dynasty Li Sixun (biography) "Gyeonggi Ruixue Tu Fan" Forbidden City. "Gyeonggi RuixueTu" fan, passed down as a Tang dynasty work, silk, color, length 42.7cm, horizontal 45.2cm.
During the Tang Dynasty, Li Sixun painted "Gyeonggi Ruixue Map" for appreciation
This painting has no money knowledge, and the right side of the Xiangzi Jing inscription: "Tang Yunqi General Li Sixun painted the Gyeonggi Ruixue Map, Song Xuan and the Imperial Palace Collection, and set it as the first of the gods." Guxu Mountain Qiao Xiang Shengmu was obtained in front of the Plum Blossom Monk Pagoda, and he had to play secretly, and the hundred gold was not easy.
The history of painting refers to him as "General Lee". Li Sixun is good at painting landscapes, pavilions, Buddhist paths, flowers and trees, birds and animals, especially known for his golden landscapes. His landscape paintings are mainly inherited from the Sui Dynasty painter Zhan Ziqian's green landscape painting style, and developed it, forming a beautiful jinbi landscape painting style with a timeless and magnificent artistic conception, vigorous use of the pen, steep wind and bones, uniform color and elegance, and decorative taste. In terms of creation, in addition to taking real scenes, Li Sixun depicts more palatial palaces and pavilions and strange and beautiful natural mountains and rivers, but also combines the theme of gods and immortals to create an ideal landscape painting realm.
During the Tang Dynasty, Li Sixun's "Yangtze River and Absolute Islands" was analyzed
Li Sixun's painting depicts the Yangtze River and the Endless Island, which shows the pale mountains and the vast water, pointing out that this is a turquoise Landscape of Pingyuan, and the picture is vast and empty. The painting is of two isolated mountains in the middle of the river. The two mountains are surrounded by water on all sides, the mountains are steep, the jungle on the mountains is dense, and the tall trees stand majestically like giant pillars, straight into the clouds.
During the Tang Dynasty, Li Sixun's "Ming Emperor Xingshu Tu" was analyzed
During the Tang Dynasty, Li Sixun's "Ming Emperor Xingshu Tu" was passed down as a large green colored silk painting created by the Tang Dynasty landscape painter Li Sixun (Li Zhaodao). His works are now in the National Palace Museum in Taipei.
The work depicts people and horses walking among the lofty mountains. The painting has the imperial inscription poem of the thirty-ninth year of Qianlong (1774): Green Guanshan, long rough road. Guests end up with their luggage carefully. Always for fame and profit, that resignation and busyness. Nian Chen lost his surname, and the Northern Song Dynasty was almost Hui"
During the Tang Dynasty, Li Sixun's "Spring Mountain Travel Map" was analyzed
This picture depicts the historical theme of Tang Xuanzong's refuge in Shu, and the painter avoided the awkward side of Tang Xuanzong's escape when expressing this theme and whitewashed it as a scene of imperial travels in spring, so this picture is also known as "Spring Mountain Travel Map".
The painter cleverly arranged a group of attendants with luggage in the center of the frame, and the people and horses were resting, arranging an interesting "rest" scene, compressing Tang Minghuang and his funeral concubines and retinues who were riding across the bridge on horseback in the right corner of the canvas, making the picture full of a pleasant and relaxed atmosphere, and cleverly avoiding the harsh reality faced by Tang Minghuang at that time.
During the Tang Dynasty, Li Sixun (paragraph) "Fang Hu Lang Yuan Tu" appreciation
Qing ren painting Li Sixun (paragraph) Fang Hu Langyuan Tu Collection of the Freer Museum of Art, USA
Langyuan, also known as Langfeng Garden and Langfeng Garden, is said to be at the top of Kunlun Mountain, where the Queen Mother lived. Eastern Jin Dynasty Ge Hong's "Biography of the Immortals" Yun: "Kunlun Pu Lang Feng Yuan, there are twelve jade buildings, nine floors of the Xuan Room, right Yao Pond, left Cuishui, ring with weak water nine weights." ...... The Queen Mother also resides. ”
During the Tang Dynasty, Li Sixun (paragraph) "Taizong arrived at Jiucheng Palace" appreciation
Celebrity painting Li Sixun (section) Taizong arrives at Jiucheng Palace, Collection of the Freer Museum of Art, USA
Jiucheng Palace was the first palace of the Tang Dynasty, located in the new city of Linyou County, Baoji City, Shaanxi Province, which was originally built in February of the thirteenth year of Emperor Wen of Sui (593 AD) and completed in March of the fifteenth year of The Sui Kai Emperor (595 AD), and was originally named "Renshou Palace", which was the departure palace of Emperor Wen. In the fifth year of Emperor Taizong's reign (631 AD), it was restored and expanded and renamed "Jiucheng Palace", which means "nine heavy" or "nine floors", saying that it is tall. During the reign of Emperor Gaozong of Tang, it was once renamed "Wannian Palace", which means Yihe Wanshou, and later reverted to its original name. Written by Wei Zheng of the Tang Dynasty and handwritten by Ouyang, "Jiucheng Palace Liquan Ming", a stone stele was erected
Tang Dynasty Li Sixun "Green Landscape Map"
Tang Li Sixun "Hanging Garden Spring Deep Map (Chuan Li Sixun Song Ren Painting)"
Li Sixun, a famous painter of the Tang Dynasty, can be said to be the forerunner of green landscape painting. Li Sixun has five brothers who are good at Danqing, but the most famous is Li Sixun, loved by people at that time, his landscape painting can be described as a must, Li Sixun is not only good at painting, but also a great general, and later his son Zhaodao was called General Xiao Li, Li Sixun was especially good at green landscape painting in landscape painting, and later generations also passed on the origin of green landscape painting from Li Sixun, so Li Sixun was the forerunner of green landscape painting.
Li Sixun's landscape paintings have the charm of Zhan Ziqian, because Li Sixun is also a member of the royal family, so his landscape paintings have strong colors, golden and emerald green, the painting style is rigorous, depicted in detail, it can be said that at that time, it was unique, able to move freely, the changes in the lines between the cliffs and ravines were depicted freely, giving people the feeling of superb skills and rich brushwork.