The Paper's reporter Gao Dan
Since April 20, the Tsinghua University Art Museum and the Capital Museum, with the support of some collectors, have opened the exhibition "Mizuki Zhan Qinghua: Nature in Chinese Painting" based on ancient fine paintings.
"Shuimu Zhan Qinghua", a classic of the Eastern Jin Dynasty Xie Chao's poem "You Xi chi", "Jingfang Songbird Collection, Mizuki Zhanqing", which not only tells the name of "Tsinghua", but also a poetic revelation of the theme of this exhibition. The Paper saw at the scene that the exhibition was divided into seven units, showing the paintings of Li Gonglin, Su Shi and other Song and Yuan paintings that had not been publicly displayed before, as well as paintings by Shen Zhou, Wen Zhengming, Qiu Ying, Dong Qichang, Chen Hongshou, Bada Shanren, Shi Tao and other famous Artists of the Ming and Qing Dynasties. Through the "nature" that appears in these works, we continue to trigger our ultimate contemplation of the relationship between man and nature.
The surging news saw at the scene that the exhibition was presented in the 10 halls on the fourth floor of the Art Museum of Tsinghua University, the exhibition hall area is not large, decorated with light-colored exhibition panels, there are more paintings, and the paintings of the Ming and Qing dynasties are larger, so they are also distributed more compactly in the exhibition hall. An important "Yansong Tu" passed down as Su Shi is placed at the entrance, while other Song paintings are randomly distributed in various units in the order of dynasties, and several masterpieces need to be carefully discovered by the viewer, such as a Song Dynasty anon. Because the exhibition hall space is more tortuous, and the theme of the exhibition focuses more on painting theory and philosophical thinking, the relationship between the paintings of each unit and the theme of the unit is not close, and the viewer does not have to be restrained.
The exhibition scene of "Mizuki Zhan Qinghua: Nature in Chinese Painting"
"Orchid Pavilion Preamble Meditation Diagram" and "Yansong Diagram"
《Yan Song Tu》
At the beginning of the exhibition, there are "Yansong Tu" that is rumored to be Su Shi, which is titled: Meishan Su Shi, Plutonium Seal: Zhao County Su Shi (Zhu Wen), Jian Zang has Zhu Wen Seals such as "Mo Lin Secret Play", "Pingsheng True Reward", "Zijing Treasure Collection"; "Xiang Shi Zi Jing", "Xiang Yuan Bian Clan Examination and Authentic Handwriting", "Xiang Mo Lin Appreciation Seal" and other white seals, nearly forty kinds of Ming Xiang Yuan Bian Jian Tibetan Seals and a variety of other people's Jian Zang Seals; "Qianlong Chenhan", "Qianlong Imperial Treasure", "Shiqu Baoji", "Sanxitang Jingjian Seal", "Royal Study Room Treasure Treasure" and other Zhu Wen seals, "Qianlong Appreciation" "Yi Descendants" and other white characters printed in the Qing Palace to collect more than ten parties.
This figure depicts a giant pine in ink, emerging from the huge stone bamboo bushes at the beginning of the canvas to the end of the volume, curled up like a dragon, full of momentum. The first volume is in the lower middle position, with the "Meishan SuShi" section and the "Zhao County Su Clan" Zhu Wen Great Seal. The great connoisseur of the Ming Dynasty, Xiang Yuanbian, was very appreciative, and the seals he collected could be described as numerous. In the Qing Dynasty, this painting was obtained by the Qianlong Emperor, and judging from its inscription "Pine Stone Jianyi" and several personal inscriptions and seals, it is also very precious, and the official revision of "Shiqu Baodi" lists the painting as "Superior Cold One".
Su Shi, the leader of the literary circle in the middle of the Northern Song Dynasty, was good at calligraphy and painting, and occupied a very important position in the history of Chinese culture and art. However, because of the rarity of his paintings, the true face of Su Shi's paintings has always been confusing. The existing ancient paintings under Su Shi's name that may be close to his true painting style include the "Ancient Wood Strange Stone Diagram" in the Shanghai Museum, the "Xiaoxiang Bamboo stone diagram" in the collection of the National Art Museum of China, the "Wooden Stone Diagram" in the private collection also known as the "Dead Wood Strange Stone Diagram" and the "Yansong Diagram". The first three pictures have long been known to the public, and there are many controversies about the authenticity, but the "YanSong Map" has been hidden deeply. Mr. Xu Bangda wrote in 1992 "Su Shi < Yan Song Tu> Volume and < Gu Bai Tu > Volume" as "the work of the Southern Song Dynasty connoisseurs", that is to say, this is at least a Southern Song Dynasty painting. Although the theme of this painting is Yan Song, it does not jump out of the bamboo, wood and stone themes that Northern Song Dynasty Wen Tong and Su Shi are good at.
Xu Bangda wrote in the appreciation article: According to this figure, the penmanship is the work of the Southern Song Dynasty experts, compared with the "Strange Wood Bamboo stone diagram", the work is more than enough, the elegance is insufficient, as Zhang Qian said at the end of the volume: "Therefore, Yu said that all public paintings should be viewed in terms of paintings outside the painting", that is, Dongpo himself said that if he did not seek to be shaped, only the "Strange" diagram could meet this theory. The most obvious point is not the su's real pen, but more in the style, this calligraphy is mediocre, the distance to the Su character is larger, and the seal color of the seal is not like the Northern Song Dynasty. Looking at the ink color of the book is dim and the dots are blurred, it seems that it was added later and deliberately scratched to make it old and difficult to distinguish, with a charming eye, then the original non-Soviet painting and the addition of the name, also unknown, in short, the southern Song Dynasty pseudo-copy is beyond doubt. Although Zhang Qian's comments on Su paintings are logical, they have nothing to do with this picture. This volume is also made of semi-cooked paper with pulp, which can often be seen in the paintings of the Southern Song Dynasty, and it is also a kind of evidence that it is determined to be painted by the Southern Song Dynasty. As for the inscription and the seal of the collection, it is all true, and it seems that it is not a post-match, which shows that Zhang Qian and others are not good at appreciating. ”
There is also a painting of Li Gonglin's "Orchid Pavilion Preface Repair Map"
Point Scene Figure: A bard in Chinese landscape painting
In this exhibition, a considerable part of the ancient Chinese landscape paintings, the mountains and rivers are magnificent or beautiful, and the dot scene figures in the paintings are also full of interest, and Chen Jiru of the Ming Dynasty listed the leisure of several literati in the "Taiping Qing Dialect": "All those who burn incense, try tea, wash bricks, drum and piano, school books, wait for the moon, listen to the rain, water flowers, lie high, survey, jingxing, negative Xuan, fishing, painting, shuquan, supporting, worshiping Buddha, tasting wine, feasting, turning the scriptures, watching mountains, linti, carving bamboo, feeding cranes, all enjoy the pleasures of one person on the right." "In classical painting, such as waterfall viewing, listening to the piano, cooking tea, fishing, lying high and other subjects that express the human touch and interest are also very common, these fresh style, rhyme and natural sketches are not only the reproduction of the elegant life of the literati, but also the portrayal of the literati's soul.
Before talking about landscape painting, we can first recall a Zhuangzi's "Autumn Water", which reads:
When the autumn water arrives, the hundred rivers irrigate the river. The flow is so large that between the two cliffs, there are no cattle and horses. Therefore, Hebo was happy and proud, and took the beauty of the world as his own. Heading east, as for the North Sea. Look to the east, not the end of the water. So, Hebo began to turn his face, looking at the ocean and sighing...
This text comes from the beginning of Chinese philosophy and literature, in a sense, presenting the relationship between man and nature at that time, and also "disciplined" the world view of posterity - man is always small in the face of nature, "heaven and earth have great beauty without words", of course, people can be tao tao and rejoice in the beautiful scenery, and man will eventually be difficult to confront nature, and man will eventually be only a natural composition that is no different from mountain flowers, trees, and waves.
Understanding this ancient view of nature, perhaps to a certain extent, Chinese landscape painting can be understood.
The landscape in Chinese landscape painting first appeared as a background for figure painting during the Southern and Northern Dynasties of the Wei and Jin Dynasties, when landscape painting had not yet been separated from figure painting, such as the portrait brick with the theme of "Seven Sages of the Bamboo Forest" and the famous "Roselle Futu" of the Jin Dynasty painter Gu Kaizhi, the proportions of the figures were large, and the trees were simple and simple, seemingly only an unimportant and few strokes. Zhang Yanyuan of the Tang Dynasty also said in the "Records of Famous Paintings of Past Dynasties" that this period "when he painted landscapes, the peaks of the peaks, if the tungsten decorated with treasury symbols, or the water could not be flooded, or the people were greater than the mountains." ”
Bamboo Forest Seven Sages Portrait Brick Rubbing
During the Sui and Tang dynasties, China's feudal society began to flourish. Influenced by the magnificent atmosphere of the times, painting has also become luxurious, and there has been a major breakthrough in landscape painting, landscape painting has become an independent painting discipline, forming two major painting styles represented by Zhan Ziqian and Li Sixun's father and son and ink painting represented by Wang Wei and Zhang Xu. The aesthetic taste of the paintings is also gradually changing, such as Li Sixun's "Jiangfan Pavilion Map", a beautiful green and green color, and more importantly, it has begun to consciously change the relationship between the size and proportion of people and landscapes. Wang Wei of the Tang Dynasty also mentioned in the "Treatise on Landscape and Water" that "whoever paints landscapes is intended to write first." From this, it can be seen that the situation of "people are greater than mountains, and water cannot be flooded" in the initial period of landscape painting has changed.
Li Sixun's "Jiang Fan Pavilion Map"
The five generations of landscape painting have outstanding regional characteristics, and in terms of artistic conception and aesthetic taste, they can show very different natural features and profound artistic conceptions rich in personality than in the Tang Dynasty. For example, the mountain top in the clouds and the majestic northern landscape represented by Jing Hao and Guan Tong, and the southern landscape with vast smoke waves, covered by Zhouzhu and Lan Qi, which were expressed by Dong Yuan and Ju Ran, were unprecedented in Tang Dynasty landscape paintings.
In the Song Dynasty, with the grand view of art and culture, the problem of the appropriate relationship between the proportions between various elements and the proportions of objects in the slowly changing landscape painting pictures was also particularly prominent with the grand view of art and culture. There is a Song Dynasty, and the courtyard paintings from the royal family go hand in hand with the literati paintings, and famous artists gather. Li Cheng and Fan Kuan are representatives of the Landscape Painters of the Northern Song Dynasty, and together with Guan Tong of the Five Dynasties, are considered to be the masters of the "Three Dingzhi and Hundred Dynasties Standards" in landscape painting.
Fan Kuan's famous "Journey map of the stream and mountain", the main part is a towering mountain, the mountain is up, the grandeur is impressive, the foreground of the picture is rushing with streams, and a team of merchants carrying goods on the mountain path travels along the edge of the river, adding vitality to the quiet mountain forest. Ni Tianchen introduced in the article "Exploring the Representation of Characters in Ancient Chinese Landscape Paintings": "Fan Kuan makes good use of raindrops and ink accumulation methods to create a melancholy effect like a night mountain, setting off the steepness and toughness of the mountain. The caravan consisted of four mules, one in front and two in the back. There were loads on the mules, and it could be seen that the four mules were obviously exhausted by the weight of the body, and each one was hanging down. The man in front was leading the way with a whip, and from time to time he looked back at the situation behind him, perhaps worried that the goods would fall and be damaged, or perhaps to determine the location of his companions behind him. The man in the back was carrying something on his back and walked slowly to the back. The vivid depiction of the figures reflects the painter's keen observation and superb expressiveness. ”
Fan Kuan's "Journey to the Creek and Mountains"
In this exhibition, there is a piece of Yuan Yao's "Journey to Qiushan" in the Qing Dynasty, which we can compare with the previous generation works as the same theme.
Yuan Yao is the son of Yuan Jiang, and both are famous painters. In the "Addendum to the Painter", it is said that "the landscape pavilion can still abide by the family law". He works on the boundary painting of Shanshui Lou pavilion, inheriting the painting methods of The Tang and Song Dynasties and the Ming Dynasty Qiu Yingqing Green Landscape Painting. The pen and ink are strictly and finely crafted, and the colors are bright and rich. On the left side of the painting in this work, there are two people standing up and raising whips, and there is the artistic conception of the Tang Dynasty poet Liu Jian's "Sending People from The Disciples into Shu" that "immediately lifting the whip is infinite, and it will be rare and far away". In addition, the Tang Dynasty poet Li Yi's "Jiami Brother and Palace Farewell" in "Tomorrow's Bashan Road, Qiushan and Several Heavy", and the Qing Dynasty Wu Wenbo's "Entering the Customs Immediately", "Immediately mean depression, Qiushan asks Qiao Mu", which shows the imagery of Li Li and Qiushan, and there is also the sadness of farewell.
Yuan Yao's master of the Tang and Song dynasties, from the Tang poems to draw up the meaning is not an isolated case, the existing "Lishan Summer Twelve Scenery Map" View Leakage Map" and so on are also mostly from the Tang poems. The paintings of Zhongshan are high and rocky, with waterfalls flowing, towering pavilions, mountains and forests, and many Shudi landscapes. As for scenes such as the close picture, the mid-view autumn window waiting for tea, visiting friends with the piano, and the wife's door, it shows the daily life of the literati. What is interesting is that the characters in the picture look more at the two people, and the meaning of the painting is more clear.
Qing Dynasty Yuan Yao's "Journey to Qiushan"
At the exhibition site of Yuan Yao's "Journey to Qiushan Mountain", the scrolls are wrinkled and wrinkled, and the color of the paper is dark and red, which makes the scenery in the painting more beautiful
Landscape painting in the Ming and Qing dynasties has always been controversial because of its "imitation of antiquity". It is generally believed that the Ming and Qing dynasty figures are the induction and summary of the previous dynasty, and their form and style are difficult to exceed the height and scope of the previous dynasty.
From the artistic characteristics of painting, Ming Dynasty landscape painting is mainly divided into the Yuan school, zhejiang school and Wu school. The courtyard school inherits the style of the Song Dynasty courtyard painting, and the dot scene characters are delicate and vivid. In the Ming Dynasty, Zhang Zhubaoyuan's painting "Linxi Caoge Tu" wrote: "In the picture of landscape and water, the characters are like painting people's finishing touches, and the point is revealed." The success or failure of a game depends on this. ”
Qing Dynasty landscape painting was mostly influenced by Yuan and Ming literati painters, and at this time, Jiangnan's economy and culture were more developed, so the character performance in Qing Dynasty landscape painting was mostly a continuation of Wu school painting in the Ming Dynasty. For example, the famous painter Wang Yi in the early Qing Dynasty, known as the "Saint of Painting in the Early Qing Dynasty", together with Wang Jian, Wang Shimin, and Wang Yuanqi, was called the "Four Kings" of landscape painters, plus Wu Li and Yun Shouping, who were collectively called "the Six Houses of the Early Qing Dynasty" or "The Four Kings wu yun", and the discourse on painting advocated "using yuanren pen and ink, transporting Song people to hills and valleys, and Ze rhymes with Tang popularity".
Literati of different seasons
And when considering how to arrange the characters when dyeing the scenery with characters, Guo Xi of the Song Dynasty wrote in "Forest Springs Gaozhi": "The smoke and clouds of the Spring Mountain are continuous and the people are happy, the Xiashan Jiamu is full of shades, the People of the Autumn Mountains are clear and the people are solemn, and the Winter Mountains are hazy and cold. "Here it is pointed out that the point scene characters should be different with the change of seasons, the point scene characters can not be placed in the picture at will, the different seasons will affect the overall atmosphere of the picture, need to be coordinated with real life and the picture mood and atmosphere, to achieve the content and the picture of the harmonious unity."
And people are not all passive, the above-mentioned Tang Dynasty Zhang Xuan, on the basis of the Southern Dynasty Zong Bing's "Landscape and Water Sequence" pointed out in the "Landscape and Water In the Form" and Wang Wei's "one pipe of the pen, the body of the virtual" further put forward the creative concept of "the creation of foreign teachers, the source of the heart in the middle", believing that the artist's creation is the product of the combination of the subjective source of the mind and the objective of all things, in order to achieve the natural state of "the unity of heaven and man".
From the following works, we can see the different seasons and how the characters in the paintings are at ease in nature.
Song Anon. "Prayer Map"
Qing Yun Shouping's painting "Landscape Book, Lotus Perfume And Water Pavilion" is unique, with an irregular lotus leaf shape in wet ink, and the characters in the painting look out from afar
Ming Xie Shichen "Jianggan Autumn Color Axis" Partial Characters in the painting are either playing against each other or enjoying the scenery, and the servants are either pouring wine or rushing in all kinds of things
Painters also like to use poetry, calligraphy and painting intertextuality, and add connotation and artistic conception to each other. For example, the following Qing Dynasty Fang Shutuo "Ice Flower Diagram", the inscription is very poetic: Daoguang Jihai (1839) on the first moon obscure day, the morning rise of snow Ji, occasionally see ice flowers piled up, like carving, wonderful from nature, ingenious and difficult. When the same viewer Zhu Jun Mengquan played: Can the son get rid of the original? Yu Yue: Yes. Sui Tuo this zhi Qingxing, and the department is praised: Teng Liu Yang Wei, used to make rain dry into snow; Feng Yi was clever, and suddenly taught ice to become a flower. The rope is full of trouble, and the axe is useless. It is not the essence of the Moon Temple, but also the hope of the world. Faith is heartless, and I am afraid that it will be difficult to stay for a long time. Love life pine smoke, expand the right side of the seat.
《Ice Flower Diagram Giant Claw De-Icing Diagram》
Slush Claw inscription
"The beauty of the mountains and rivers, the ancient world to talk about"
The ancients have been contemplating the beauty of natural mountains and rivers for a long time, landscape culture has always nourished the hearts of literati of all generations, Confucianism will be the landscape in nature and the spiritual quality of people to characterize, to achieve landscape and water, in the natural aesthetic activities to strengthen the beauty of human morality; Taoists pay attention to "Chang Shen" in the landscape, with a "heaven and earth and me coexist, all things and I as one" attitude to observe the beauty of natural landscapes, so that it transforms into a path of "body" and "smell". During the Wei and Jin dynasties, metaphysics flourished, and Zhuangzi's natural aesthetics formed the core of the aesthetics of landscapes in the Wei and Jin dynasties. Scholars pursue the "great beauty" of heaven and earth nature with the life of an individual, in order to seek spiritual freedom in the midst of the chaos and danger of the times, as Xie Lingyun's poem said, "The capital of the husband's clothes in life, the suitability of the nature of the landscape and water", Lin Quan became the residence of the literati and the husband. Ancient painters, fascinated by the beauty of mountains and rivers, no matter the change of the four hours, the change of dusk, the beauty of the "natural" lively and vivid existence is further illuminated, and it is ingested into the spiritual palace one by one, and the drawings are written, so that the landscape on paper, like the natural mountains and rivers, becomes the place of gentleman's adaptability.
In many paintings on the scene, the picture is simple, and even a few thatched huts in the mountains are formed, pursuing a kind of natural wild interest. The "Picture Seeing and Hearing Zhi" said of Fan Kuan: "Living in the mountains and forests, he often sits in danger all day and looks around all day to seek his interest." Although the snow is shining, it will linger and gaze to ponder. Song Liu Daool said of Gao Keming: "Many rows of countryside, the fun of the mountains and forests, (its) sitting all day, happy to know also." Returning to the ashram to live, meditating on the screen, wandering outside. ”
For example, Shi Tao's "Map of Zhuxi" in the Qing Dynasty, the inscription reads: Map of Zhuxi. The west wind hit the bay, and the water pedestrians asked the Forbidden City. Autumn grass is full of geese, and salt smoke rises in the east of Hailing. Hangou whimpered and walked away from the golden causeway, and Zen Zhisong wind took Zhuxi. The song in the city is boiling, and there are crows by the Moon Ming Bridge. The moon in Guangling City is round, and the water in Guangling City is like smoke. Milk swallows flew at first sight, and Jiang Jiadun bought a cruise ship after the pier. The leaves on the water are light, and the water gate is first opened to release the boat line. Folding flowers and swinging children along the embankment, pulling up the Xiang curtain without any years of love. ...... It is about the pursuit of the wild fun of autumn grass.
"Map of Zhuxi" Shi Tao of the Qing Dynasty
In a group of Ren Bonian's "Miscellaneous Albums", the distant mountains and water waves are depicted with extremely freehand brushstrokes, which is considered to be more than Shi Tao's brushwork, Wang Yang is wanton, and has a unique aesthetic taste.
Ren Bonian's Miscellaneous Album
There is also a type of painting in ancient paintings, because of the use of boundary ruler leads when painting, so the picture is particularly regular and complex, and the pavilions and pavilions are neat and tidy, such as the following Qing Dynasty painter Yin Donglin's "Spring Snow Map":
Qing Dynasty Yin Donglin 《Spring Snow Map》
Ming Dynasty Anon. "Pavilion Gao YiTu"
Many subjects are also frequent visitors to ancient paintings, such as pine trees:
Ming Dynasty Songxuan Night Reading
Qing Dynasty Wang Yi "Lintang Yin Songxuan Reading Yi"
The ancestors, who regarded agriculture as their main production activity, had a natural affinity for all things in nature, and they looked up at the size of the universe and also looked down on the grandeur of the categories. A grass, a tree, an insect, and a fish between heaven and earth all arouse their observations, raise up their feelings, "chanting things", and thus become the most common means in literary and artistic creation. Ancient painters also devoted themselves to exploring the interrelationship between "things" and "me", or "looking at things with things" in the form of sketching. Tsinghua University's 110th Anniversary Celebration Series Exhibition
Mizuki Zhan Qinghua: Nature in Chinese Painting
Exhibition time: April 20, 2021 - October 20, 2021
Exhibition venue: Hall 10, 4th Floor, Art Museum of Tsinghua University
Editor-in-charge: Qian Xue'er
Proofreader: Luan Meng