One
People in the world like to talk about the topic of "Wei and Jin Romance", putting aside the inherent nostalgia complex, from the real feeling of open-mindedness, in fact, the most elegant feudal literary era is the Eastern Jin Dynasty.
This with Nanjing as the capital, once born in the Western Jin Dynasty, spent in the war, and survived for 103 years, except for the founding emperor Sima Rui, the Jin Ming Emperor Sima Shao, and the Jin Xiaowu Emperor Sima Yao, most of the other emperors were mediocre and incompetent, extravagant and misguided of the country, and had a miserable ending. As a symbol of the country, their greatest contribution is to maintain the territory of great unification, and their greatest gain is to create several generations of grandmasters who founded the sect for Chinese literature and art.
In stark contrast to the emperors of the Eastern Jin Dynasty, it is Wang Xizhi, Gu Kaizhi, Tao Yuanming and other celebrities in the cultural field under their rule. This is a very peculiar historical phenomenon, they not only created a literary and artistic miracle of an era, but also built the Eastern Jin Dynasty into a romantic generation that can no longer be replicated in Chinese history.
In troubled times without being surprised, out of sludge and not stained. The poignant story of the unique drunken generation of the merry generation, and the breathtaking talent revealed by the generation of romance, are the ones who need future generations to cross the smoke and clouds of time to mourn and think about the aftertaste. Let's walk into the merry generation that originated in the Jin Dynasty and take a look at the merry years of the Eastern Jin Dynasty.
Two
History's choice of Wang Xizhi is the luck of the Eastern Jin Dynasty, Chinese culture, and Chinese calligraphy. Wang Xizhi did not live up to the elegant title of "Wei and Jin Dynasty Romance", he used the irreplaceable romantic potential, the drunkenness of Yonghe nine years, and the supreme glory of "the first line of calligraphy in the world" to set up a peak for Chinese calligraphy.
Speaking of Wang Xizhi, most of what future generations remember is his calligraphy, in fact, he is a person with a story who can write and martial arts. His body is entangled with the magnificent rise and fall of the Jin Dynasty, especially the Eastern Jin Dynasty, and his dream is haunted by the turbulent trajectory of the Shi clan's gate valves.
According to the general statement, in 303 AD, Wang Xizhi was born in the Wei and Jin dynasties Langya (now Linyi, Shandong) Wang's family, at that time the history was still fixed in the second emperor of the Western Jin Dynasty who had just been restored to Luoyang - Emperor Hui Sima Zhen period, the court and the opposition, the imperial family was a bloody storm, and the sound of killing came and went. In 361 AD, at the age of 59, Wang Xizhi died in Huiji Jinting (now Shaoxing, Zhejiang). In that year, the fifth emperor of the Eastern Jin Dynasty, Emperor Mu Sima Dan, also died at the age of 19 in the newly recovered Luoyang Palace.
Wang Xizhi's life journey is almost a Jiazi, which is roughly "dark clouds pressing on the road ahead, and the waves are turbulent all the time". On this road, there were eight emperors to accompany the left and right, continue to sit in the village, and govern for a short time, followed by the rebellion of the eight kings, the southern crossing of the clothes, the Eastern Jin Dynasty and the Northern Expedition and other historical events occurred continuously. The winds and waves of the times, the ups and downs of the times, and the joys and sorrows of the times are very rare even if you look at the entire history of ancient Chinese art.
However, the wind and waves can make people's minds quiet, the ups and downs can make people's minds clear, and the joys and sorrows are easy to urge people's hearts to detach, and then give birth to a kind of helplessness, loneliness, and hidden complex. It can be said that Wang Xizhi's life is gradually chic in such ideological torment and emotional transmutation, and Wang Xizhi's calligraphy has gradually become popular in such a time-space background and humanistic context.
Looking back at Wang Xizhi's growth road, when he was young, his family background was extremely superior, his father Wang Kuang, uncle Wang Dao, etc. were all important ministers of the imperial court and well-known calligraphers. His time in his hometown in Shandong was short-lived, and at the age of five, he moved south with his family and settled in Wuyi Lane, Nanjing. Due to the influence of the family, Wang Xizhi, who has been fond of calligraphy since childhood, showed the calligraphy potential of a genius boy at the age of seven under the guidance of famous calligraphers such as his aunt Mrs. Wei. Especially after becoming the "East Bed Fast Son-in-law" of the Eastern Jin Dynasty minister and calligrapher Xi Jian, his career and calligraphy are singing all the way, advancing by leaps and bounds, and gradually becoming a god.
Looking at Wang Xizhi's career journey, he started from the secretary Lang, and successively served as General Ningyuan, Jiangzhou Thorn History, Huiji Internal History, General of the Right Army, etc., said that after abandoning the official due to illness, he moved to Huiji Shanyin (now Shaoxing, Zhejiang) to live a leisurely semi-hermit life, and in his later years, he lived in seclusion in Jinting, Yanxian County, until the end of his life. The accompanying story of eating ink, the story of entering the wood, the story of the goose pond, and the story of the successive theft of the Spring Festival couplets have given birth to many allusions to Wang Xizhi's road to becoming an official.
Examine the fruit of Wang Xizhi's calligraphy, he was under the influence of his family when he was a child, he learned from all the strengths, prepared all the bodies, and was good at subordination, grass, Kai, and line; After the Lanting Collection, his masterpiece "Lanting Preface" was a blockbuster and towered into the temple, and Wang Xizhi was respected by the successive dynasties as the "book saint".
Detail of Wang Xizhi's "Orchid Pavilion Preface" (facsimile)
Analyzing the past and present life of the "Orchid Pavilion Preface", the creation of this calligraphy peak is inseparable from the drunkenness in the ninth year of Yonghe (353). The beauty of the culture and ontology it contains, the beauty of humanity and the beauty of neutralization that it carries, even after more than 1,600 years of baptism, is still mellow and beautiful.
As we all know, the Wei and Jin dynasties in which Wang Xizhi lived were an era of extreme social turmoil in Chinese history, but individual ideas were extremely active. The literary torch ignited by this, as a barometer of that era, cannot but be said to be a legend. Peeling back the core of this legend, what shines brightly is the radiation of classical Chinese aesthetics.
From the beginning of Chinese civilization to the two Han dynasties before the Wei and Jin dynasties, it was the foundation and formation period of Chinese classical aesthetics. The classical aesthetics of this period are like a widely bound textbook, and the obscurantist feelings of reverence for heaven and earth, the laws of survival of Taoism and nature, the philosophical concept of the unity of nature and man, the ethical order of benevolence, righteousness, propriety and wisdom, and the romantic pathos of social life are all adding to its interest and readability. Here, the first generation of aesthetic masters put the basic point of reading, interpreting, and discussing beauty on the harmony and unity of the individual and society, man and nature, and rational spirit and moral spirit; the first generation of aesthetic masters Confucius, Mencius, Laozi, etc., established the proposition that beauty lies in humanity and beauty in nature; and Qu Yuan, the first generation of literary masters, started the idea that "the road is long, and I will seek it up and down" Dong Zhongshu, the representative of the first generation of Neo-Confucianism, took the aesthetics of classics as the coordinates to explain the function of aesthetics in an all-round way, and completed the unity of nature and man in emotion and realm.
Based on this, looking at the high-frequency radiation of these classical aesthetic atmospheres before the Han Dynasty, Wang Xizhi stood in the time of the Wei and Jin dynasties, and under the intoxication of the family cultural atmosphere, he deeply interpreted and copied the rich charm and wonderful style of masterpieces such as Li Si's "Mount Tai Carved Stone", the originator of calligraphy. At this time, Wang Xiyi must have felt that the unfinished meaning of this textbook is that a lot of the beauty of this world lies in finding annotations in another artistic way, and many blanks in this history lie in being filled in with another aesthetic sentiment. It is this simple and primitive mellow fragrance that provides a projection of ink that can be written at any time for the cultivation of Wang Xizhi's calligraphy thought and the formation of the aesthetic concept of "Orchid Pavilion Preface".
Time pays off the hard-working people, and the inspiration comes from the moment of chance. On the third day of the third lunar month of the ninth year of Emperor Yonghe of Jin Mu, on that day, the spring was bright and bright, and the wind was harmonious, and the 51-year-old Wang Xizhi invited 41 celebrities such as Situ Xie An, Sun Xuan, and the senior monk Zhi Dun, to hold an elegant gathering in the Lanting of Huiji Shanyin in Shaoxing, Zhejiang. This time, Yacheng collected 37 poems, and everyone unanimously recommended Wang Xizhi to write a preface for the compilation of poems. Wang Xizhi took advantage of the drunkenness, and in front of everyone's eyes, he improvised, swayed on the silkworm paper with a rat whisker pen, and wrote 28 lines and 324 words of "Orchid Pavilion Preface". Since then, a Mount Everest in the history of Chinese calligraphy, a classic prose in the history of Chinese literature, and a glorious chapter in the history of Chinese aesthetics were born, leaving the aesthetic connotation of three quadrants to future generations.
The first is pure literary beauty.
The preface prose of "Orchid Pavilion Preface" is a vivid and realistic portrayal of the political storms, social situation and humanistic style of the Eastern Jin Dynasty, and its profound ideological connotation and emotional declaration of ups and downs make the reader feel the joy of the world, the pain of the world, and the sorrow of life in the realm of grace and beauty. The first part of the article describes the time, place, people, environment, pomp, weather, and emotion of the gathering, describes the beauty of natural scenery, the entertainment of the assembly process, and the smoothness of traveling, and highlights the happiness of cultivation; the second part depicts the different life pursuits, philosophies and life encounters of the two kinds of people, "quiet" and "restless", and expounds the internal connection between occurrence and extinction, happiness and sorrow, emphasizing the preciousness of life; the third part criticizes the nihilistic thoughts, the concept of the world, and the The mentality of inaction, and the purpose of the assembly is explained, awakening the celebrities and scholars not to let life pass away in a rare confusion, and highlighting the calm and open-minded Confucian-Taoist coexistence worldview of "death and life are also great".
As a literary masterpiece, "Orchid Pavilion Preface" is a revolution in Chinese literary style, is the poetic spray of Wei and Jin demeanor, Wang Xizhi's exploration significance is: let the historical storms, the joys and sorrows of the world, the ups and downs of fate, the blending and collision of emotions, and the complementarity and mutual learning of art, all with the help of the rigor and delicacy of the historian, with the help of the poet's romance and passion, the sea-like mind, the sea-like bearing, The sea-like profundity is naturally and surgingly released, so as to leave the life story of an era to the sky completely, the aesthetic sustenance of a period of time and space to the earth, and the nihilistic thoughts of a group of literati and scholars to the future.
The second is the beauty of the sublime form.
Wang Xizhi's creative contribution lies in liberating the classical Chinese writing mode from the official temples of the Qin and Han dynasties, transforming the simple and vast calligraphy style of the Han and Wei dynasties into a subtle and natural smooth calligraphy, transforming the practical function of Chinese characters into an experimental platform that focuses on techniques and tastes, and spreading the beauty of form and expression of calligraphy to the society and the people in a chic and high-profile manner at the time of opening a generation of precedents.
From the perspective of formal aesthetics and expressive aesthetics, "Orchid Pavilion Preface" is the most perfect arrangement and combination of the geometric relationship of Chinese characters, and the most romantic "multi-part symphony" of Chinese character dance. In the "Orchid Pavilion Preface", the proportional relationship between the font size followed by Qin Seal and Han Li is almost equal, and the ratio correlation between the characters and the characters with almost the same distance is forgotten, and instead is the poetic expression between the characters that is not limited by the font size and the natural expression that is not affected by the spacing and sparse relationship, which makes the 324 Chinese characters through the guidance of emotion and rhyme, with the best situation of the golden section method to complete a perfect transcendence in the geometric sense; The word is the main melody, 21 kinds of elegant stage, beautiful dance steps, chic dance posture, dancing out of the shape of the clouds, the momentum of the dragon, the quiet of the flowing water, the inner essence of calligraphy is thus revealed; with the image between the strokes and the strokes are connected as dynamic notes, 324 arcs of the beginning and turn, the arc of the broken and successive radians, and the arc of the broken meaning of the brush, play the charm of the Jin people, the style of the masters, and the inner soul of the book, and the inner soul of the book body is born; The replenishment of the complex and the makeup of the sentiment make up for the beauty of the broken arm of the "Venus", the fascination of the smile of the "Mona Lisa", and the contemplative worries of the "thinker", and the eternal quality of the rhyme is solidified.
The third is the beauty of dependence and neutrality.
Wang Xizhi's original significance lies in the fact that the masculine beauty of the Qin seal and the beauty of vicissitudes of life follow the "bone, force, potential" and the "taste, rhyme, and fun" followed by the feminine beauty of the Han Dynasty. Divine energy is introduced to the highest level of calligraphy art.
If you go deep into it, it can be said that Taoist aesthetic thought provides it with a variety of charm, Confucian aesthetic thought adds a variety of charm to it, and the spirit of Dionysus brews a multi-flavor spirit for it. In "Orchid Pavilion Preface", Wang Xizhi takes happiness as the starting point, uses stories to tell the spiritual pleasure and life enlightenment brought by goodness and beauty, uses emotion as the coordinates, uses ink to render the life respect and life law provided by beauty, takes worry as the horizontal axis, uses lines to connect the personality ideals and moral guidance given by true beauty, and takes enlightenment as the vertical axis, and uses qi rhyme to connect the life realm and the invisible avenue that Daomei gives to life. Thus, with the ideal concept of pursuing absolute freedom, the euphemistic narrative is combined with the inner melancholy, with the concept of empathy that travels far from the world, the inner emotions of the individual are integrated with the expansive temperament of the world, and the transcendent view of forgetting life and death is realized, the meaning of life is coupled with the yearning for the future, and the freedom, epiphany, and will are rooted in the slightest centimeter, and the law of calligraphy has a far-reaching luster that flows with spirit.
After "Orchid Pavilion Preface" entered the world with intoxication, its legendary story began to move step by step to the altar and into the public. Li Shimin, Taizong of the Tang Dynasty, who created the prosperous era of the Tang Dynasty, has read all the sails, and he admires the Wei and Jin dynasties alone. Subsequently, the facsimiles of the three masters of calligraphy of Li Shimin's era (Yu Shinan, Feng Chengsu, and Chu Suiliang) were the most classic and authoritative. Wang Xizhi was the first to copy the "Lanting Preface", he wrote repeatedly many times after waking up, but he could not find the original feeling; the pluralistic inheritance of the folk has laid a broad foundation for the Lanting culture, which has benefited from the appearance of many copies and stone carvings since the Tang Dynasty, and has benefited from the preaching and teaching of many great calligraphers to solve doubts. Now, "Orchid Pavilion Preface" has already flown into the homes of ordinary people and has long entered the memory of learners' mobile phones.
Wang Xizhi went through the hellish tempering of the history of the Wei and Jin dynasties before he developed the power to create heaven and build peaks. The topic of him and the "Orchid Pavilion Preface" will be eternal. The drunkenness in the ninth year of Yonghe, from the perspective of the evolutionary logic of historical aesthetics, belongs to a drunken eternal, if we look at the dialectical development of calligraphy aesthetics, it is not a drunken eternal!
In a word, the reason why "Orchid Pavilion Preface" can become a god, a classic, and a model is inseparable from the interdependence of three levels, that is, the touching of the beauty of literature in the article, the infection of the beauty of the body in calligraphy, and the touching of the beauty of the harmony between thoughts. Wang Xizhi was revered as a "sage of calligraphy" by later generations, and he used calligraphy to write a brilliant and wonderful stroke for the Wei and Jin dynasties.
Three
The choice of Gu Kaizhi by the times is the glory of the Eastern Jin Dynasty, the glory of Chinese art, and the glory of Chinese painting. Gu Kaizhi is indeed worthy of the word "Rong", he used strong ink and color to add a beautiful background to the "Wei and Jin Romance", and set up a strange peak for Chinese painting with the extraordinary charm and flying romance of the "Luo Shen Futu".
Detail of Gu Kaizhi's "Luo Shen Futu" (facsimile)
When it comes to Gu Kaizhi, most of the nostalgia of later generations is his paintings, in fact, he is a learned man who works poetry, calligraphy and painting. His body stirred up most of the Eastern Jin Dynasty literary circles, and his paintings contained the ardent enthusiasm of the resonance of the romantic scholars.
In 348 AD, Gu Kaizhi (the word Changkang) was born in the family of an indigenous clan in Wuxi, Jiangnan. At that time, the fifth emperor of the Eastern Jin Dynasty, Emperor Mu Di Sima Dan, had only turned 5 years old, but had been on the throne for 3 years, and Wang Xizhi was 45 years old that year, and he had already become famous all over the world. In 409 AD, the 62-year-old Gu Kaizhi died in the capital city of Jiankang (now Nanjing, Jiangsu) while serving as a "free cavalry permanent attendant" canonized by the imperial court. By this time, Liu Yu had become the de facto ruler of the Eastern Jin Dynasty, and the dumbest puppet emperor in Chinese history, Sima Dezong of the Jin Dynasty, was under the care of his younger brother Sima Dewen (the last emperor of the Eastern Jin Dynasty) and his wife Wang Shenai (Wang Xi's granddaughter).
Walking into Gu Kaizhi's literary and artistic territory, it can be said that "he is obsessed with calligraphy and painting to call the gods, and his great wisdom is like a foolish companion on the long road". In this picture, there were six emperors in power, many powerful ministers controlled the court, and many rebellions caused Xiao Wall. The ups and downs of imperial power, the darkness of society, and the confusion of the world, even if you search the entire history of imperial change in ancient China, it is unbearable to look back.
However, in the ups and downs, people can see the edge, when it is dark, it can make people see the dawn, and when it is confused, it is easy to help people avoid the whirlpool, and then provoke a black humor, high and low, and the passion and courage of laughing proudly in life. It can be said that Gu Kaizhi's life has been spent in such a realistic situation and cognitive perception, and Gu Kaizhi's paintings are sublimated in such emotional entrustment and aesthetic changes.
Although Gu Kaizhi's family background is slightly inferior to Wang Xizhi, he was born in a wealthy place in the south of the Yangtze River and grew up in a solid family in Wuxi, and the family glory implied in this background is also beyond the reach of ordinary people. However, he has never been a big official, and has long traveled around the battlefield and art garden as a military Chinese cadre.
But Gu Kaizhi, as the chosen talent in troubled times, has rich emotions and loves literature and art all his life. For example, the humorous story of his anti-sugarcane eating, the infatuation story of painting the portrait of his mother who died young, the pandering story of painting for the political figures of the DPRK and China, and the witty story of fighting wits with the powerful minister Huan Xuan, etc., all show that he is a lovely person with feelings, wisdom, and scheming. Of course, these small condiments can't support Gu Kaizhi's achievements as a great artist. What he is most favored and unforgettable by future generations is his "three uniques".
As far as "talent" is concerned, Gu Kaizhi is full of poetry and books, and he is easy to adapt to, witty and eloquent, observant and witty. His poems and songs, strong literati atmosphere, and far-reaching irony, are both hearty and thought-provoking to read; his treatises such as "On Painting" and "Painting Yuntai Mountain" not only put forward such groundbreaking viewpoints as "depicting gods in form", but also laid the foundation for the development of traditional painting, and became insurmountable theoretical classics for future generations.
As far as "infatuation" is concerned, after Gu Kaizhi's mother died early, he always wanted to paint a portrait of his mother to commemorate it, and after repeatedly asking his father how his mother looked, after thousands of attempts, he finally painted a portrait of his mother that shocked his father and others. This obsessive emotion is full of infinite family affection. He eats sugarcane in an unusual way, from the least sweet part of the end, and finally the process of eating more and more sweet, gradually getting better, contains how much life experience and life philosophy. This infatuation, there are a few people who can understand it.
As far as "painting" is concerned, Gu Kaizhi has created a large number of portraits and paintings of gods, Buddhas, beasts, landscapes, etc., when Jiankang painted the mural of "Vimala Statue" for Waguan Temple, its continuous lines like "spring silkworm spinning", the painter pays attention to the eye-catching expressive brush, which instantly makes the work dazzling, causing a huge sensation in the capital and the art world; especially his masterpiece "Luo Shen Futu" and "Female History Zhen Tu" and other famous works, have reached the artistic peak of an era, and "Luo Shen Futu" is "China's top ten famous paintings" The prominent position of the first has become the historical coordinate for future generations to look up to and worship, and has become an immortal masterpiece in the history of Chinese art.
Then let's focus on "Luo Shen Futu" and take a look at the aesthetic ideas contained in this classic painting, the love story interpreted, the life scenes depicted, and the life philosophy diffused by this classic painting.
Since the middle and late Eastern Jin Dynasty and the late Han Dynasty not long ago, Gu Kaizhi has been an epoch-making period with turning significance in the history of Chinese aesthetics. This period of history is not too long, like a vast comic strip, although the picture is covered with war clouds and the swords and swords on the page, what makes future generations and thinkers feel very gratified is that with the fire of war and gunpowder, holding the sorrow and farewell, the Wei and Jin aesthetics condensed the three major ideological connotations of "the taste of the characters, the discussion of metaphysics and the establishment of literary and artistic theory criticism".
Standing in front of this comic strip, Gu Kaizhi's most intuitive feeling is that with the influence of Confucianism in the late Han Dynasty and the gradual withdrawal of the tradition of emphasizing goodness over beauty over beauty from the historical time and space of the Eastern Han Dynasty, the aesthetic vision began to switch to emphasizing beauty over goodness and studying the characteristics of beauty and art itself, especially Cao Pi's practice longitude in which he put the independent discussion of aesthetic issues in the first place, and after Ji Kang put forward objective aesthetics and formal aesthetics in the way of theoretical speculation, Wei and Jin aesthetics ushered in its most outstanding contribution and expression.
Approaching the central picture of this comic strip, the most real feeling is that with the vigorous rise of the Jin Dynasty gate valve family, the ruler of human objects and algae has also begun to shift to the personality temperament and demeanor of the charactersIn the continuous debate with whether the "image" is "dedicated", the artistic spirit in the field of aesthetics is condensed.
Based on this, Gu Kaizhi bathed in the sunshine of the second half of the Wei and Jin dynasties, and under the careful guidance of his mentor Wei Xie, the "revolutionary of Chinese painting in the Eastern Jin Dynasty", while exploring the practical significance of these literary and artistic theories, while exploring the essence of the theory of "writing gods in form" in Chinese painting, Wei Fuzi's painting focused on the beauty of "quiet thinking and ingenuity" of line modeling, which became the true meaning of Gu Kai's lifelong inheritance and exaltation. At this time, Gu Kaizhi, while enjoying the sunset and admiring this comic book, walked into the painting with a huge pen in his hand, and finally became the brightest page in this painting. At this time, he should have thought that opening his mind to the historical picture scroll and the art space of his heart will definitely allow him to find the moment of pure beauty of life through painting. It is this pure fragrance of reality that accumulates aesthetic energy that can be sprayed at any time for the accumulation of Gu Kaizhi's artistic thoughts and the condensation of the aesthetic ideas of "Luo Shen Futu".
Ideas lead practice and bloom for practice. Blooming in the Eastern Jin Dynasty, the "Luo Shen Futu", due to the age, the creation time has been unable to verify, the original work has long disappeared in the depths of time and space, and now the world's circulation, mainly four copies of the Song Dynasty, these copies are 6 meters long, all of them are colored on silk, respectively in the Palace Museum in Beijing, the Liaoning Provincial Museum and the Freer Museum of Art in the United States.
Although the true face is hard to find, the facsimile is also wonderful. About "Luo Shen Futu", it is based on the famous "Luo Shen Fu" by Cao Zhi, a famous writer of Wei literature, in the form of comic strips and folded frames, it tells the love story of Cao Zhi and Luo Shen meeting, falling in love and parting, and I have interpreted it with prose poems:
Under the sunset, Cao Zhi's words are gorgeous for the sunset, and by the Luo River, Gu Kaizhi's silk color has become a myth. It's all for a wait, waiting for that moment. You're here, a cloud floating, and colorful silk satin curls up your flowing hair. I have been looking forward to it for too long, and the palace of youth has already collapsed; Roselle on the edge of the sky, watching for a lifetime is to wait for you to feather together.
On the blue waves, Luo Shen's smile is as bright as peach blossoms, and beside the green trees, Cao Zhi's love silk quietly sprouts. It's all for a meeting.,Meet the one who meets Spirited Away.。 You are close, like a painting of a dragon, with fluttering clothes and lingering love words. If you gather too little, will the gentleness of heaven slowly melt away, and if you scatter too much, the cold rain of the world will not warm the spring, autumn, winter and summer. Luo Shen around him, love for a lifetime is to be concerned with you.
On the cloud car, Luo Shen's gaze lingered, and in the light boat, Cao Zhi's eyes were melancholy. All for a parting, parting with the charming piece of Xia. You are gone, a graceful rainbow, and the sound of horses' hooves crushed the wordless falling flowers. The days are too short, when will the blood-dripping sheji scab over, and the nights are too long, and the fiefdom of dreams can only carve thoughts into the dream. Luo Shen in my heart, meditating for thousands of years is to see you for all generations.
Follow the poetry and peek into the picture. The reason why "Luo Shen Futu" can become the first of the "Top Ten Famous Paintings in China" is that it is composed of the beauty of the artistic conception of the marriage of the painting, the beauty of the heart-shaking story, the beauty of the purple and red colors, the beauty of the romantic and beautiful imagination, the beauty of graceful and pathetic love, and the beauty of exaggerated and delicate shapes. Walking into it is like walking into the hundred gardens of ancient Chinese literati paintings, figure paintings, landscape paintings, and fairy paintings, where every blue sky and clear water, every ancient tree and strange pine, every piece of colorful auspicious clouds, every character shape, every monster, fish and insects, all show its subtlety and majesty.
In terms of artistic conception and the beauty of love, the story of Cao Zhi's "Luo Shen Fu" is well-known, which has made thousands of people cry and regret It is the first in Chinese history to introduce literary classics into the ontology of painting, and to realize the strong combination of endowment and painting, opening a precedent for the mutual transformation and complementarity of literature and art.
As far as the beauty of color and story is concerned, the overall color of "Luo Shen Futu" is colorful, elegant and fresh, giving people a kind of all-round shock in visual aesthetics and multi-dimensional expectations in space thinking, the rhythm of its color change and the clues of the story are completely corresponding, the scale of its color use is completely consistent with the process of emotional progression, and the theme of its color expression is completely consistent with the ending of the fate of the characters. This combination method of using color to set off the story and using the story to select colors, this way of using shade changes to refract psychology and emotional ups and downs to the smallest detail, has achieved the perfect fit of visual synaesthesia and spiritual perception.
In terms of the beauty of imagination and modeling, although "Luo Shen Futu" is based on Cao Zhi's original endowment, it surpasses the original endowment in terms of the setting of the situation and the performance of the plot. With the imagination of genius, Gu Kaizhi fictionalized many immortals and strange birds and beasts that do not exist in real life, such as a sea dragon with a pair of long antlers, a strange fish with a leopard's head, etc., which not only increased the mystery of the picture, but also strengthened the legend of the story; Whale salamanders and other accompaniments, Luo Shen recalls the process of looking, etc., which not only reflects the twists and turns of the story, but also expresses the reluctance of Luo Shen and Cao Zhi, this subtle moment is full of poetry.
Therefore, Gu Kaizhi's "Luo Shen Futu" not only represents the highest level of Chinese painting in the Eastern Jin Dynasty, but also has a profound impact on the painters of that time and later generations. The main ones are: the combination of literature and art has elevated the dual value of literary works and works of art; the comic book-style long scroll composition has opened the ideological leap of Chinese painting from practical function to aesthetic consciousness; and the brushwork of depicting gods has realized the philosophical speculation of Chinese painting from traditional realism to innovative freehand, leaving an eternally bright historical picture for the world. Gu Kaizhi was revered by later generations as the "ancestor of Chinese painting", and he used his painting to add a dazzling and stunning page to the Wei and Jin dynasties.
(Hu Zhengliang)