□ Sun Baoyuan
Yingqiu, the ancient name of Changle during the Northern Song Dynasty, belonged to Jingdong Road, which is today's Shandong. "The first landscape of the Northern Song Dynasty" Li Chengcheng lived here.
The Song Dynasty was a period of breakthrough development of Chinese landscape painting, which began at the end of the Tang Dynasty, polished by more than 50 years of five dynasties and ten kingdoms, and formed a unique system in the early years of the Northern Song Dynasty. After the founding of the Northern Song Dynasty, a group of outstanding painters were moved to Kaifeng, beijing, forming an important painting art town in the north. Therefore, the history of Chinese painting and the source of the development of Chinese painting are always circled in the three places of Hongdu and Jinling in the Southern Tang Dynasty, and Chengdu and Beijing in Shudi. The determination of the cultural region is always marked by the cultural representatives there, and Li Cheng lives in QingzhouFu, Jingdong Road, where a lot of artistic creations have been carried out. The Xuanhe Pictorial Spectrum of Emperor Huizong of Song stated that he "went out to Li Chengyi in this dynasty, although he was good at teaching Jinghao and excelling in blue, the law of counting sons was also swept away." This is a very high evaluation, Li Cheng was called the first person in ancient and modern landscape painting by the landscape painting circle at that time. His artistic influence lasted until the Ming Dynasty. However, if Li Cheng's territory is ignored, the discussion of painting history is unfair.
"Cold Forest Plain Field Map" ink painting on silk
The Xuanhe Pictorial Notation says, "Li Chengzi Xianxi. His ancestor Tang Dynasty's ancestral chamber, at the time of the five difficult seasons, lived in the four directions, avoided the North Sea, and became a Yingqiu person." Let us unmistakably tell us that he was also from the Royal Li Clan Clan, because of the five generations of soldiers, the Tang Room was scattered, and his family lived in Yingqiu. Although they migrated, the whole family still did not lose the quality of Confucianism, and in the local area, they still adhered to the "Confucian officials" and strictly observed the festival of honesty. It is precisely under the influence of this family way that Li Cheng is "good at literature, has an extraordinary tone, and has great ambitions." It seems that Li Cheng can also write a good article, the meaning of the painting comes from the literary atmosphere, but the way of expression is different, the article is the transmission of consciousness, the picture is a visual expression, Chinese culture integrates the two, and puts forward the words meaning and context. It has caused a cultural spectacle of painting in poetry and poetry in painting, which is a cultural phenomenon unique to the Chinese nation. In Li Cheng's time, the early Song dynasty general Cao Bin of Wuhui wang had the honor of getting a picture of his landscape, which was also hung in the hall to watch, and inscribed a poem, saying: "Six paintings of ice silk hanging on the green court, dangerous peaks stacked on obstacles." However, due to a night of banana rain, it is suspected that it is the sound of a waterfall in front of the rock. "That is to say, the sound of water is heard from the painting.
The Song Dynasty's painting theory concludes, "Yue Zhen Chuan Ling, Hai Han Di Negative, as for the god of creation, the yin and yang are obscure, thousands of miles away, can be obtained within reach, and their non-chest has its own hills and valleys and can be described, not necessarily this." Here two characteristics of Chinese landscape painting are emphasized: the first is that it is within easy reach; the second is that the hills and ravines are in the chest. At this point, the basic principles of Chinese landscape painting have been established, and the tradition is still there.
Li Cheng inherited this tradition thanks to Jing Hao. Jing Hao, the fifth generation of the late Tang Dynasty, almost an era with Li Cheng, he proposed to "go to the axe chisel marks and more perverted", that is, to advocate that the picture should not have the traces of brushstrokes, proposed that pen and ink are integrated, although the pictures are drawn with brushes, the picture is ever-changing, but the highest realm of creation is not to show handwriting. He painted, first pouring ink on the musu, and then taking its height up and down, which is today's splashed ink painting. This practice was deeply understood by Li Cheng, and the development of practice in creation created a more novel painting style.
Since ancient times, the painter insisted on two points: the tradition of the teacher, the creation of the teacher, Li Cheng from the Jinghao family to understand the true meaning of art, his second teacher is the Shandong landscape that nurtured him, without this environment there would be no Li Cheng's paintings. So on the one hand, he sighed that he could not exert it, on the other hand, he was resentful of the fate, the coexistence of ambition and integrity, the tone of his breath and the synchronization of behavior, he walked the rivers and lakes, let loose poetry and wine, sent love to pen and ink, and was interested in painting. He put the mountains and forests, xueze, pingyuan, dangerous, haunting, twists and turns, flying currents, dangerous stacks, broken bridges, absolute streams, water stones, wind and rain, obscurity, smoke clouds, and snow fog into the painting, expressing the breath in his chest. Shiren commented that his paintings were "like MengJiao singing in poetry, and Zhang Qianzhi was crazy in grass", what a look!
Li Cheng's paintings were sought after, it was an era when calligraphy and painting were popular, and collectors were competing to collect his paintings, "Whoever calls himself a landscape will become the first in ancient and modern times." But Li Cheng does not sell paintings, he is arrogant and tall, he does not live for this fanatical painting and calligraphy market, he is painting, it is lyrical, sending life, and the words of this world are written in those twists and turns, dangerous stacks, broken bridges, wind and rain. He walked constantly, indulged in poetry and wine, and indulged in pen and ink.
Li Cheng - Qingluan Xiao Temple
During the Kaibao period of Song Taizu, there was a rich man named Sun Sihao, who liked calligraphy and painting, and provided four painters at home to paint for him, which was quite a bit of a royal painting academy. He coveted Li Cheng's paintings, but he couldn't get his hands on them, so he repeated the trick and asked Li Cheng to come to his house to receive food and clothing, so that if he succeeded, Li Cheng's paintings would not be left to others. He underestimated Li Cheng's ambitions, and Li Cheng indignantly told him, "Although I am a Confucian student, although he is entertaining, he is only suitable, so why should he make people detain people in the Qili Hotel, study Dan powder and be listed with the painting history?" "This means that I am a Confucian student, and I am devoted to painting, which is the most suitable cause, how can I let you be confined to the Huating Binshe, do some things that smear dan powder and ink, and be in the company of those mediocre people?" Sun Sihao was not satisfied, and sent people to Yingqiu to bribe local officials with large sums of money to buy several paintings of Li Cheng. In the next few years, Li Chengju entered the army, and Sun Sihao earnestly invited Li Cheng to his house as a guest, and When Li Cheng saw that he was humble and humble, he was embarrassed to refuse, so he went to his house for a trip, and as soon as he entered the house, he saw his own paintings hanging in the hall, "making color and vibrating clothes and leaving."
The character of the painting is often the character of the author, the so-called text is like its person, and the painting is also like its person. Li Cheng ushered in a new era of landscape painting in the early years of the Northern Song Dynasty, and the Xuanhe Pictorial Notation records that he left 159 paintings in his lifetime, most of which were scattered and the ink left behind was deafening. Later generations respected him and did not call him by his name, but called him "Li Yingqiu", which was his hometown, and he interpreted the landscape and water creation of his hometown throughout his life.
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