<h1 class="pgc-h-arrow-right" data-track="33" > Wu Daozi and Li Sixun were famous painters of The Tang Dynasty in China, but the paintings they painted were very different. Legend has it that once, Emperor Xuanzong of Tang learned that the rivers and rivers of Jialing in Sichuan were very beautiful, so he sent Wu Daozi to sketch. After returning, Tang Xuanzong wanted to see his drawings. Wu Daozi said that I did not have a drawing draft, and the rivers and rivers of Jialing were all remembered in my heart. Tang Xuanzong was very puzzled, so he ordered him to paint on the wall of the Datong Hall on the spot. </h1>
<h1 class="pgc-h-arrow-right" data-track="34" > results, Wu Daozi took only one day to paint the 300-mile scenery of the Jialing River. Tang Xuanzong compared him with the works of the same theme that Li Sixun had spent several months painting, and then sighed: "Li Sixun's achievements for several months and Wu Daozi's one-day traces are all extremely wonderful. </h1>
Wu Daozi is a saint of ancient Chinese painting, Li Sixun and he are painters of the same period, today we will talk about the story of Li Sixun.
Tang Li Sixun (biography) 90% summer vacation picture page on paper The Forbidden City in Beijing
China's landscape painting developed to the Tang Dynasty, there are green hooks, ink rendering, and produced a large number of famous landscape painters such as Li Sixun, Li Zhaodao, Wang Wei, Zhang Xuan, Bi Hong, Zheng Qian, Wang Mo, etc., which can be described as diverse styles, famous artists, showing a new scene of unprecedented prosperity. In this process of development, Li Sixun and Li Zhaodao father and son were painters with important positions.
Li Sixun (651–716 CE) was the son of Emperor Xiaobin of the Tang Dynasty, who served as the governor of Yangzhou during the reign of Emperor Gaozong. Wu Zetian bingzheng brutalized Zong Zhi, and Li abandoned the official to hide. Emperor Zhongzong of Tang died, Emperor Zhongzong (Li Xian) restored the Zong Sect, and Li Sixun served as Zong Zhengqing (宗正卿) in the position of Emperor Zhongzong, and was later promoted to The Great General of Zuo Yulin , and later became the Great General of Right Wu Wei , the Duke of Pengguo , and posthumously created the Governor of Qin Prefecture.
Li Sixun was not only a prominent "Great General of Yunli" at that time, but also a wonderful Painter who was brilliant in Danqing, whose paintings were superb and "known for his art at that time".
His son Li Zhaodao, who once worked as a Cangcao in Taiyuan Province, and later became an official to zhongshu sheren, although his official position was not high, but in landscape painting, he could inherit his father's business, his skills were extraordinary, and his "golden landscape", with a color pen, was more slender and complete, and had the reputation of "changing fathers, wonderful and superior", and also worthy of the reputation of "a clever hand for a while". Because both father and son are known for their "golden and bi landscapes", when people talk about landscape paintings, they are called "General Da Li" and "General Xiao Li".
Although Li Zhaodao was not a general, he was commonly known as his father. It is worth mentioning that Li Sixun's family has five people who are good at painting, and all of them have considerable social status. His younger brother Li Sizhi (李思诲) served as a general in Yangzhou and was posthumously given the gift of Shangshu. His nephew Li Linfu (李林甫官) was a hot figure in the political arena during the reign of Emperor Xuanzong of Tang. His nephew Li Zhuo (李凑), who was first appointed as Guangling Cangcao (廣陵 Cangcao), was a lieutenant of Xiangshan County in Ming Prefecture in Tianbao. Among the five, except for Li Zhaogong's figure paintings, the other four are landscape painters. Understanding these circumstances of Li Sixun and his family lineage is not helpful for us to appreciate his paintings.
Li Sixun likes to write and paint well, especially in landscapes. Very few of his paintings have survived. Therefore, the "Jiangfan Pavilion Map" passed down as Li Sixun's handwriting has become a precious work for studying Li Sixun's landscape painting style, the characteristics of ancient Chinese landscape painting and the history of Chinese painting.
Tang Li Sixun Jiang Fan Pavilion Diagram Silk Book Taipei National Palace Museum
"Jiangfan Pavilion Map" (now in Taipei), 101.9 cm high and 54.7 cm wide, is a green landscape on silk. The upper part of the picture is vast in the sky, and the sails trace the current, showing the longitudinal realm thousands of miles away. The lower section is covered by the Long Pine Xiuling Ridge, and a winding mountain path winds on the banks of the river, deep in the bamboo. In the point scene, the characters either ride on the pedals, or lead the rapid steps, or shoulder to shoulder and carry and then slowly walk between the peach and green. The ancient trees on the mountain are full of branches, and the power and maple are intertwined, like flex iron. The rattan is wrapped around the ke and the roots are intertwined, which adds a quaint atmosphere to the artistic conception of the picture.
The whole map of peaks and mountains, the realm is majestic, the fiction is novel, the pen and ink are exquisite, whether it is green coloring or Zhu-type dyeing, all of them are quite successful, thus like the Tang Dynasty Benrong's poem "Title Li Sixun Landscape": "Bu ZhuZang cultivation is self-biased, honoring the former poetry and wine cluster sage." When the toyo rock pine is hidden, a pillow autumn sound listens to the spring at night. The wind and moon are long and the work is happy, and the fishermen spend the year everywhere. The Southern Tang Dynasty figures are still there, and the mountains and rivers live in seclusion. "It shows that his landscape paintings can be like the appearance of landscapes and have infinite momentum, and can make the scenery interesting and inexhaustible." This wonderful victory is also faintly visible in the "Jiangfan Pavilion Map".
Tang Li Sixun Gongyuan Picture Scroll Silk Book Forbidden City, Beijing
Therefore, the Qianlongjian collector An Qi, after introducing the content of this masterpiece of green landscape painting in his "Ink Edge Huiguan", once made such a comment: This painting "can also be described as a youchun map." The color is ancient, the pen and ink are 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, and there is no doubt that there is a wonderful Tang painting that enters the wood and is three points of the wood, and it is appropriate to be a real handiwork. In the lower left corner, ji xi dian bao Zhu Wen da yin. Yuan Wang's Uncle Ming Zhichuan's migration map and the Taibai Mountain map are all based on this method. "Historically, people who have always believed that Ahn's criticism of paintings is still cautious, and his views are sufficient for reference.
Because Li Sixun's landscape paintings are good at writing the scene of "Turbulent Water, Clouds and Misty Clouds", and often take the characters in the stories of the gods as point scenes, so that the hills and ravines are more secluded, the artistic conception is more wonderful, so that the scenery of the mountains and rivers can show special charm, so in addition to being admirable, there is even such a story in the painting world: During the Tianbao period, Li Longji, the Emperor of the Tang Dynasty, summoned Li Sixun to paint the walls of the Datong Temple and cover up obstacles. One day, Emperor Tang Ming said to Li Sixun very magically: "Qing's painting covers the obstacles, smells the sound of water at night, and is a good hand of theosophy." This shows that Li Sixun's landscape paintings are fascinating, making people feel endless aftertaste after watching, making associations, and even getting a kind of hallucinatory aesthetic enjoyment, with the artistic charm of "creating into painting, painting to seize creation".
Tang Li Sixun (biography) Gyeonggi Ruixue Tu Fan Silk Book
Zhu Jingmo's "Catalogue of Famous Paintings of the Tang Dynasty" also records that Li Sixun and Wu Daozi worked together in the Datong Hall to paint landscape murals, which were often talked about by later generations. Records: During the Tianbao period, Tang Xuanzong suddenly missed the landscape of the Jialing River in Sichuan, so he sent Wu Daozi to sketch. Wu Daozi revisited the old land, enjoyed the Mountains and Rivers of Shu, and deeply engraved all feelings and experiences in his heart. When he returned to Beijing, when Emperor Xuanzong asked him, he replied bluntly: "The subject has no powder book, and he keeps it in mind." Emperor Xuanzong was puzzled and immediately ordered him to paint in the Datong Hall. Wu Daozi raised his pen and waved it, and in one day he depicted the beautiful scenery of the Jialing River and water of three hundred miles. Li Sixun, on the other hand, is "tired of the months." After looking at it, Emperor Ming said, "Li Sixun's work for several months and Wu Daozi's paintings in one day are all extremely wonderful." This legend has always been popular among the population and has become a good story of Yilin.
Li Sixun died in the sixth year of the new century, and it is impossible to paint with Wu Daozi when he was more than twenty years after his death. Although this story is falsely spread in time, it shows in terms of content that Li Sixun's landscape paintings and Wu Daozi's landscape paintings are very different in style, and they cannot be achieved in one day, but take several months of work. Although his works are exquisite and meticulous, prosperous and beautiful, they can truly capture the mood of the object, achieve the wonderful painting of the scenery and the gods, and have a strong artistic appeal, so it is rated as "the first landscape in the national dynasty".
Zhang Yanyuan of the Tang Dynasty wrote in the "Records of Famous Paintings of Past Dynasties": "The change of landscape and water began in Wu and became in Erli." Under the influence of Zhan Ziqian's painting style, Li Sixun's father and son not only further developed the pattern of landscape as the main body and the characters as the dot scene in form, but also inherited the inherent expression technique of color in landscape painting since the Six Dynasties and the Sui Dynasty in terms of fine brush tone and green color, and created the "golden landscape" painting pioneer of "green as the quality, gold and blue as the pattern", and gave full play to the traditional form of color expression, so that landscape painting tended to be an independent painting discipline.
Although Li Sixun died forty years before Wu Daozi, because Wu Daozi was almost thirty-four years older than Li Sixun, when Wu Daozi "created the body of landscape and water" by depicting the landscape of Shu Dao, Li Sixun was still young, so It is said that Wu Daozi was the "beginning" of the transformation of landscape painting. Moreover, although Wu Daozi also made landscapes after middle age, his main energy was after all focused on Buddhist and Taoist figure painting, while Li Sixun's father and son were attentive to landscape painting, diligent and unremitting, and never quit their lives, so it is said that Er Li is the "success" of promoting the reform of landscape painting. The green landscape school represented by Li Sixun's father and son, as well as the ink landscape that arose after the Sheng Tang Dynasty, prepared relatively sufficient conditions for the maturity of landscape painting in the five generations of the late Tang Dynasty.