<h1>Jing Hao's "Notes on Penmanship"</h1>
Yuhiro Images
Jing Haozi Haoran, born around the fourth to tenth year of Tang Dazhong (850-?) ）。 The most influential landscape painter of the Five Dynasties Later Liang of China, Botong Jingshi, and is longer than the article. The character Haoran, Qinshui (one said Shanxi, one said Henan Jiyuan). He is good at painting landscapes and often carries a pen to copy the ancient pines in the mountains. The summit of the cloud can paint the majesty of the peaks on all sides. He claimed to be able to combine Wu Daozi's pen and Xiang Rong's ink skills to create the expression technique of water halo ink chapter. Yigong Buddha statue, once painted murals in the Shuanglin Courtyard in Beijing (present-day Kaifeng, Henan). He is one of the painters who have an important influence on the development of Chinese landscape painting. He is the author of "Notes on Brushwork". The surviving Kuang Lu Tu.
Five generations later Liang Jinghao Kuang Lu tu
【Name】Five generations later Liang Jinghao Kuang Lu tu
【Age】Five generations after the Liang
【Introduction】Silk, ink painting, axis. Size: 185.8 × 106.8 cm. It is now in the collection of the National Palace Museum in Taipei.
"Kuang Lu" is LuShan, also known as Kuang Mountain, and it is said that Kuang Yu Jielu lived here in seclusion during the Yin Zhou Dynasty. The king should not be summoned, and the king sent emissaries to visit it, but only an empty room remained. Lushan Mountain is located in Jiangxi, belongs to the southern landscape, and Jinghao mainly represents the northern landscape, is this "Kuang Lu Tu" another meaning?
This painting is different from Fan Kuan's "Journey to Xishan", the three scenes of near, middle and far are not all placed on the central axis of the frame, but the turquoise and huts in the near scene are moved to the lower right corner of the picture, separated by a vast water area in the middle, opposite the large-scale main mountain in the upper left. The painter's compositional design of "Pingyuan" and diagonal lines is very similar to the Song Dynasty's "Minshan Qingxue", both influenced by the small landscape paintings popular at the end of the Northern Song Dynasty, which implies that the completion of "Kuang Lu Tu" should be later than the eleventh century.
The main peak is formed by a vertical flake of mountain formations, and the outline of the rock is outlined with sharp twists and turns, the edges are neat, as if cut by a knife, and the rendering is thick ink on the inside of the surface, leaving blank near the outside of the outline. The shape and strokes of this type of mountain are similar to the reliefs of the tenth century excavated from Qixia Mountain in Nanjing, or the mountain stones on the "Eighteen Arhats" passed down through the generations, with a flat and stylized style, so it shows a strong antique meaning.
The method of depicting mountain stones is derived from Fan Kuan, and the painter uses dense raindrops to depict the rough and hard texture of the rock. However, in addition to the point and promotion of the center of the pen, you can also see the sideways slashing brushwork. The use of this kind of "small axe splitting" can be seen in Li Tang's "Ten Thousand Pine Wind Map", showing that the "Kuang Lu Tu" is closely related to the style of the court painting academy at the end of the Northern Song Dynasty.
Jing Hao Kuang Lu Tu
He was born at the end of the Tang Dynasty and died about five generations after the Tang Dynasty (923-936). Born as a scholar, during the Later Liang Dynasty, because of avoiding war and chaos, he once lived in seclusion in the Taihang Mountain Hong valley, so he called himself "Hongguzi". Jing Hao not only created the Northern School landscape painting with equal emphasis on pen and ink, which was revered by later generations as the ancestor of the Northern Landscape Painting School, but also left the famous landscape painting theory "BrushWork" for posterity, under the pretext of meeting an old man in the Shenzhen Mountains, and put forward the so-called "six points" of qi, rhyme, thought, scenery, pen and ink in mutual questions and answers, which is a classic work in the ancient theory of landscape painting, which has developed somewhat than the "Six Laws Theory" of Southern Qi Sheikh in the earlier period and has higher theoretical value.
Jing Hao created landscape brush and ink and emphasis, good at painting "the top of the mountain in the clouds", has long proposed that landscape painting must also be "both form and god", "scene blending", his works have been regarded as a model of Song painting, but unfortunately there are very few works that have survived in the world, and the only few paintings are still doubtful of authenticity.
Jing Hao's Life and Early Painting Activities Jing Hao was born in Jiyuan, Henan. Jiyuan leans on Taihang in the north, wangwu in the west and the two mountains, and the yellow river in the south, adjacent to the ancient capital Luoyang, and has always had a strong literary style. The Qin River cuts out from the northwest, and the cliffs on both sides are like cutting, and the valley is long. Jinghao's hometown is located in Guduitou Village, fifteen miles northeast of the present-day county seat, and the ruins of Jinghao's tomb are now extant.
Jing Haozi Haoran was born around the fourth to tenth years of Tang Dynasty (850-856). In his early years, he was "karmic Confucianism, Bo Tong Jing Shi, and Good Literature", and he was knowledgeable. Jiyuan's scenery has many footprints, and Bai Juyi has a poetry cloud: "Jiyuan landscape is good, and old Yin has known it for a long time." ...... Kong Shan sword standing, Qin shui dragon snake walking; dangerous on the hanging spring, Chengwan turned the mouth. "Sima Chengzhen, the Taoist master of Tang Kaiyuan, once founded the Balcony Palace on Wangwu Mountain. When he was a teenager, Jing Hao often came to this palace, and under the influence of Sima Chengzhen, in the "Notes on Penmanship" written in his later years, he ranked it side by side with Wang Wei and Zhang Xuan, praising: "The Baiyun Master has a wonderful weather, has its own yuan, uses Yi Chang, and is unfathomable. Jing Hao also created the "Rooftop Map" showing the main peak of Wangwu Mountain, which is related to his early life experience.
Around the first year of Tang Qianfu (874), Jing Hao came to Kaifeng from his hometown and was cared for by his fellow villager Pei Xiu, who was once a minor official at the end of the Tang Dynasty.
Pei Xiu served as chancellor for five years, Tang Dazhong deposed in the tenth year (856), met the high monk Yuanshao in Kaifeng, the two were like-minded, Yuanshao ordered him to live in Kaifeng Yimen Cangyuan Shuinan Temple. Later Yuanshao's fame grew, and it was expanded into a huge courtyard across the Yimen Mountain, which was personally inscribed by Emperor Tang as the "Shuanglin Courtyard". Jing Hao once painted murals for the important Zen temple of Shuanglin Temple, which shows the name of his paintings at that time. "Taste the painting of Baotuo Luojia Mountain in the Shuanglin Courtyard of the Beijing Division", ("Five Generations of Famous Paintings Supplement"), but this painting has not been passed on, according to his later creative spirit in ink landscape painting, it can be concluded that it is an ink painting combining figures with landscapes.
There are other examples of Jing Hao's good characters. In his surviving "Kuang Lu Tu", there are several small and dynamic point scene characters. In the Xuanhe Pictorial Notation, it is also recorded that he once painted three "Shanyin Yanlanting Diagrams" with many characters, and four "Pictures of the King of Chuxiang Encountering the Goddess". In the Qing Dynasty, Li Zuoxian's "Calligraphy and Painting Jian Ying" recorded Jing Hao's "Zhong Li VisitIng Daotu": "Mountain forest ink pen, character coloring, part-time work belt writing." He also recorded that in the painting, Zhong Lizuo raised his hand to inquire, the soldier stood up, the real person on the other side walked on the tiger, and the boy recalled the instructions, which were very vividly depicted.
(Pictured) The picture shows the Shenju Mountain recorded in Jing Hao's "Penmanship Record"
He lives in Honggu Mountain, Linxian County, Henan
During the Five Dynasties Later Liang Period, Jing Hao retired due to the changeable political situation and began a career of "hiding in the Honggu Valley of the Taihang Mountains", calling himself Hongguzi.
Honggu is located in Lin County, about 200 miles north of Kaifeng. LinXian Tang Dynasty name Linxu County, Taihang Mountain Range in the west of the county stretched for 180 miles, collectively known as Linxu Mountain, from north to south in turn called Huanghua, Tianping, Yuquan, Honggu, Qixia and other mountains. The mountains are majestic and magnificent, deep and strange, and there have been many hermits throughout the ages. Guo Xi, a master of the Northern Song Dynasty landscape, pointed out in "Lin Quan Gao Zhi": "Taihang pillow Huaxia, and the face of Lin Xi. "I think Lin Wei is the most beautiful place in the Taihang Mountains."
In such a beautiful environment, Jing Hao is self-sufficient and often paints pine landscapes. He had little contact with the outside world, but had more contact with the Qinglian Temple in yedu, and painted for the temple at least twice.
Yidu was located in the north of present-day Linzhang County, Hebei Province, east of Lin County, and was the capital of Cao Wei during the Three Kingdoms period. At that time, the shamen (abbot monk) of Qinglian Temple in the capital of Yidu was a great fool, who once begged to paint in Jinghao and sent poems to achieve his meaning. The poem says: "Six paintings were built in the past, and the traces of the emperor were known." Don't ask for a thousand streams of water, but two pines. There are rocks under the trees, and the peaks are far away in the sky. Near the rock, it is wet, but the ink smoke is thick. It can be seen that he asked Jing Hao to paint a turquoise map, with the double pine standing on the cliff as the main body, the nearby is the cloud of ink rendering, and the distant peaks are undulating.
Soon Jing Hao did indeed paint a gift to Dayu, and wrote an answer poem: "Sweeping arbitrarily, the peaks are the first to be formed." The tip of the pen is cold and the tree is thin, and the ink is light and the wild clouds are light. The rock fountain is narrow and the mountain roots are level. When the Zen room is exhibited, it is also called bitter emptiness. Obviously, he is quite satisfied with his ink-drenched work, and at the same time reflects his state of mind after retiring - "bitter emptiness". Bitter emptiness is a Buddhist language, believing that everything in the world is suffering and emptiness, which is exactly his disgust for the chaotic world.
From the poems that the two men gave each other, we can see their unusual relationship. The Great Fool said, "Six paintings of the old prison were built, and the traces of the emperor's handwriting were known." "Obviously it's about something else." "Six paintings" can be interpreted as six paintings, or as a large painting. According to the Han system, the cloth is two feet and two inches wide, and the six paintings are one foot and three feet two inches wide, perhaps a screen painting. "Old prison" means that it is still firmly stored and well preserved. Build, pass "key", lock hidden. It is precisely because Dayu has received Jing Hao's paintings in the past that he can say how "Zhijun" is. And it can be inferred that the six paintings were a few years ago.
【Name】Five generations after Liang Jinghao Snow landscape map
【Introduction】Color on silk, 138.3 cm in length and 75.5 cm in width. (Us) Collection of the Nelson Atkins Art Museum in Kansas City.
This figure is composed in a vertical frame, painting a series of mountains, interspersed with traveling figures, the shape of the mountain is curved, and the color is thick. The painting method is written in a bald pen, and the shape is like an ancient li, and the ancient is even more ancient. The whole picture is rhymed with ink, the general structure of its landscape is taken by the pen to obtain its masculine beauty, and the ink rendering is seen in its feminine beauty. It is rumored that the painting was unearthed from an ancient tomb.
Jing Hao's works in the bibliography
In the history books and bibliographies of painting in previous dynasties, there are about 50 works by Jing Hao, of which landscape paintings account for the vast majority, and there are also a small number of figure paintings. For example, in the Xuanhe Pictorial Notation, there are three pictures of the Shanyin Feast Lanting, four pictures of the Chuxiang King's encounter with the goddess, and the aforementioned guan zi bodhisattva and zhong li visiting the Dao map, these nine works are mainly characters. Landscape paintings are recorded in the "Chronicle of Pictures and Stories" with four times of landscape, three peaks, Taoyuan, and Tiantai; the "Xuanhe Pictorial Notation" records Xiashan TuSI, Shushan Tu I, Shanshui Tu I, Waterfall Tu I, Qiu Shan Lou Guan Tu II, Qiu Shan Rui Xia Tu II, Qiu Jing Yu Father Tu III, Bai Pingzhou Five Pavilions Tu I; the Southern Song Dynasty "Zhongxing Guan Ge Storage" records the Early Journey of Jiangcun and the Jiangcun Reminiscence Map; in addition, in the "Xiangyang Zhilin", "Cloud smoke over the eyes", "Iron Net Coral", "Coral Net", "Qinghe Calligraphy and Painting Boat", "Picture Essence Consciousness", "Spectacular Life", "Spectacular Life", " In the works such as the Examination of Calligraphy and Painting of the Ancient Hall of Styles, the Treasure of The Stone Canal, and the Record of the Elimination of Summer by Gengzi, there are also records of the Yule Map, the Qiushan Map, the Mountain Villa Map, the Junfeng Map, the Qiushan Xiao Temple Map, the Cliff Flying Spring Map, the Cloud Gap Map, the Shulin Xiao Temple Map, the Yunsheng Liexiu Map, the Xishan Wind and Rain Map, the Chushan Autumn Evening Map, the Xianshan Map, the Yangtze River Wanli Map, the Lushan Map, the Kuang Lu Map, and so on. What is more special is that the "Coral Net" records that Jing Hao has a Jiaotai album, which may be a custom painting with three sheep, which means "Sanyang (sheep) Jiaotai".
The above works have been lost except for Kuang Lu Tu. As for the five paintings that are currently rumored to have been made for Jing Hao, such as the snow landscape collected by the Nelson Museum of Art in the United States, the Jiangshan Ruiyi map collected by the Osaka Municipal Museum of Art in Japan, and the fishing music drawing collected by the National Palace Museum in Taiwan, there are disputes over their authenticity.
Jing Hao (biography) Shanshui Zhongtang colored paper 131×56cm
Jing Hao's artistic features
I. "There is pen and ink, and the ink chapter is haloed by water"
All the painting history painting theory works in the past have loved to quote These words from Jing Hao: "Wu Daozi paints landscapes with pen but no ink, and Xiang Rong has ink but no pen." I should take the strengths of my second son and become a family. He himself said in the "Book of Penmanship": "With the color of the class, there has been ability since ancient times; such as the water halo ink chapter, the revival of my Tang Dynasty." These two paragraphs really summarize a major feature of Jing Hao's art.
Since the Six Dynasties, landscape paintings have been green and green, and the lines are filled with color. From the Sheng Tang and Middle Tang Dynasties, ink landscape paintings began to appear, and there were Zhang Xuan, Wang Wei, Wang Qia and others who belonged to the ranks of pioneers, but the whole society had not yet formed a trend. By the fifth generation, ink landscape painting had become more and more mature, and through the further development of Jing Hao, it had risen to become a theoretical "pen and ink", and paid more attention to the use of water. The combination of pen and ink is more conducive to expressing the ever-changing weather of nature, which is an expansion in the aesthetics of painting, and obviously helps to eliminate that stereotypical handwriting in terms of technique. As mentioned in the previous quotation from the poem of the Great Fool, "ink is light and wild and cloudy" is the subtle artistic effect of ink painting.
According to Jing Hao's own explanation: "The author, although according to the law, the fortune is changed, it is not qualitative or formless, like flying. Ink, high and low halo, shallow and deep, natural color, like a non-cause pen. "His main emphasis is on the changing sense of movement with the pen and the natural interest of the charm of the ink. Wu Daozi only has the power of the line pen and no ink color change, Xiang Rong only has the change of ink and does not use the beauty of the pen, Jing Hao combined these two parents to achieve the effect of "people think that it is natural", "so it is pleasing to the eyes of the public to make it easy for the viewer to see" (quoted from the "Xuanhe Painting Spectrum").
Regarding the characteristics of Jing Hao's pen, there have always been different records and analyses. Some say that he "splits with a small axe, outlines trees and stones, and pens like seals" (Li Zuoxian); some say that he "reduced the sesame seeds of the right hand (Wang Wei) to stretching and changed them to small phimps" (Buyantu); others say that "its mountains and trees are written in bald pens, shaped like ancient seals, and canggu are very strong" (Sun Chengze). These statements show that Jing Hao has integrated the bone strength of seal calligraphy in the use of pens, and is still in the process of exploration in the method of acupuncture, with different faces. The Song Dynasty's elaborate "Records of Clouds and Smoke Passing Eyes" records that he saw two paintings of Jinghao's yule diagram, with several inscriptions "Fisherman's Words", similar to the style of Liu Gongquan in the Tang Dynasty. The records of the predecessors are worth referencing.
Second, "big mountains and big waters, open a thousand miles"
Jing Hao's previous landscape paintings rarely show majestic mountains and rivers and panoramic layouts. Because of the majestic momentum of The Taihang Mountain, his aesthetic vision has undergone an important change, recognizing that "the image of the landscape and the water are born of momentum". Because of his majestic gaze at the vast space, he finally created a new pattern of "opening the map for thousands of miles".
The Northern Song Dynasty Shen Kuo's "Picture Song" wrote: "The most wonderful words in the painting are landscapes, and the peaks of Majie rise on both sides." Li Chengbi seized the chemical industry, and Jing Hao opened the map for thousands of miles. Fan Kuanshilan smoke forest is deep, dead wood is extremely difficult to compare. Jiangnan Dongyuan monk Juran, light ink light Lan as one. ......”
Jing Hao looked at the majestic weather of the vast space, and this change reflected the deepening of people's aesthetic understanding of nature at that time. He named the different parts and morphological mountain and water flows observed in reality as: peaks, peaks, peaks, ridges, mountains, valleys, cliffs, rocks, valleys, valleys, streams, etc., and pointed out that the law of natural landscapes should be grasped as a whole: "Although the upper peaks and peaks are different, the lower gangling ridges are connected, covering the forest springs, and are faintly near and far. It is precisely in the all-round examination from top to bottom, near and far, virtual reality, guests and hosts, and various objects that the overall concept of "the image of mountains and rivers, the momentum of life" has been formed, and in the creation, it is often dangerous peaks, heavy rocks, forest springs, and huge momentum.
The Song Dynasty, who has collected Jing Hao's works, summarized the characteristics of Jing hao paintings as "good is the top of the mountain in the clouds, and the four sides are thick"; it is also said that "the top of the mountain is good for dense forest, and the water is a sudden stone". From this, we can imagine the majestic pattern of qi yun. Gu Fu of the Qing Dynasty recorded in "The Spectacular Life of Ordinary Life" that "the peaks and mountains are repetitive, and the momentum is broken, and a mountain is formed, without a broken shape.". What we are talking about here is that we are good at handling the relationship between the whole and the part, and the real and concrete portrayal of the details does not affect the integrated mountain. He also pointed out that most of Jing Hao's works were "the pen of seeking the zhang", so that "the big picture of the latter cannot be out of scope". However, Jing Hao can also make small scales, such as the album Yunsheng Column Map, which is rated as "a thousand acres at a distance, and the ink is thick and beautiful".
Jing Hao is good at making autumn and winter scenes, and the historical works include "Qiushan Lou Guan Tu", "Qiu Shan Rui Mist Map", "Autumn Scenery Fisherman Father Map", "Qiu Shan Xiao Temple Map", "Chu Shan Autumn Evening Map" and so on. In the Yuan Dynasty, Huang Gongwang praised the "Chushan Autumn Evening Map" as "the bones are absolute, and the thinking is profound", and gave a poem: "The sky is high and the wind is solemn, and the clouds and smoke are full of households." Under the yellow leaves, the trees are desolate and listen to the chirping of the afternoon chickens. The mountain man has the real recipe for the interview, and the wild man has no intention of waking up drunk. The most is a window of good autumn colors, when the Honggu old well-known. From the poem, we can imagine that the picture is high and refreshing, the peaks are green and the trees are barren, the clouds and smoke are full of smoke, there are mountain monks talking, wild people drinking, the noon chickens chirping, and everything revolves around rendering an "autumn" word. It is a realm of autumn colors and full of life. It can be seen that the realm of Jinghao's mountains and rivers is full of rich details, which has both a strong shocking power and is intriguing to savor.
Jing Hao Liang Feng ChunCai Vertical Shaft Vertical Shaft Colored Silk 26.5×39.5cm
introduce:
Style: Liang Feng Chuncai. The mountain color is uncertain, like smoke. There are people with su hearts, and the piano should be natural. Hongguzi Jing Haozuo was seventy years old and four.
Seal: Ting (White), True □ (White)
Description: This lot is a Japanese return work.
<h1>Penmanship notes </h1>
There is a hong valley in the Taihang Mountains, and there are several acres of land in between, and I often cultivate and eat it. There is a day to climb the town of the town of the mountain look around, back into the big rock, moss path dew, strange rock smoke, rush into its place, all ancient Pine also. The one who is surrounded by the middle and the only one, the old man with the skin, the scales in the air, the power of the cockroach, and the desire to attach to the cloud Han. Those who become foresters are refreshed and honored; those who cannot, they are self-deprecating. Or back to the roots to unearth, or cut off the great current, hang on the shore of the pan creek, covered with moss and cracked stones. Surprised, appreciated everywhere. Tomorrow I will write it with a pen, and all the tens of thousands of copies will be as true as it is.
Next spring, I came to the stone drum rock and met a sorcerer. Because of the question, it is answered by the reason for its origin.
Sorcerer: 'Zi Zhi Pen Method?' He said, "So, the savage man of the form of a savage, do you know that the penmanship is evil?" The Son: 'Does the Son know what I am holding?' 'Smell and be ashamed.
Sorcerer: 'Young people are eager to learn, and they can eventually succeed.' There are six points of fu painting: one is qi, two is rhyme, three is thinking, four is jing, five is pen, and six is ink. Yue: "Painter, Hua Ye." But it seems to be really expensive, and it is not a scratch. "Not really." Painter, painter also. Take the object as it is. The brilliance of things, take their brilliance; the reality of things, take the truth. Don't be honest. If you don't know the technique, you can also, but also; the picture is true, and it is not reachable. ’
A: 'Why is it like this?' Why is it true? "He who is like him, gets his form, and loses his breath." The true one, the temperament is flourishing, and all the qi is transmitted to China, and the elephant is left behind, and the death of the elephant is also. Xie Yue: "Therefore, I know the calligraphers and painters, and the famous sages have learned." Cultivators know that it is not the original, play with the pen to take and, and finally achieve nothing. Shame on you, but you can't draw. "The lustful, the thief of life." Famous sages indulge in pictures of piano books and remove miscellaneous desires. The Son is kind, but he has always learned, and he should not retreat. The essence of the picture is to be prepared with the Son: The qi person, the heart is lucky, and the image is not confused. Rhymers, invisible standing, good preparation. Thinkers, delete the big points, contemplate the form. Scenery, system time cause, search for magic and create truth. The author, although according to the law, the transport is changed, it is not qualitative, it is like flying. Ink, high and low halo, shallow and deep, natural literary style, like a non-cause pen. ’
Resurrection: 'God, wonder, wonder, coincidence.' The god, who dies and does something, lets his fortune become an image. The magician, thinking about the heavens and the earth, all kinds of temperament, the combination of literature and science, the product logistics pen. The strange one, the unpredictable, and the real scene or obedience, cause its reasoning to be biased, and the person who gets this is also a pen without thought. Skillful, carved with small charms, falsely combined with the great scriptures, strong writing articles, increase the weather, this is not enough and more than enough.
Where the pen has four potentials, namely tendons, flesh, bones, and qi. The pen is absolutely non-stop, so-called tendons. Undulating into reality, called meat. Life and death are just right, called bones. The trace painting is undefeated, and it is called angry. Therefore, those who know the great quality of ink lose their bodies; those who are weak in color are defeated; those who are dead have no flesh; those who are broken have no tendons; those who are charming, have no bones.
There are two kinds of diseases: one is invisible, and the other is tangible. Visible sick, flowers and trees from time to time, small houses, or trees higher than the mountain, bridges do not land on the shore, can be measured and so on. It is such a disease that it can be changed. Invisible diseases, full of charm, all objects and images, pen and ink, similar to dead things, with sigus, can not be deleted. The son is good at writing about the landscape of the cloud forest, and must know the source of the object. Fu Mu is to live, to be subject to his nature. Pine life is also, in vain and not crooked, encryption such as sparse, non-green and non-green, from the micro-straight, cute heart is not low. The momentum is both high, the branches are low, the upside down is not falling to the ground, and the layers seem to be stacked in the forest, such as the gentleman's virtue wind. There are paintings such as flying dragon cockroaches, wild branches and leaves, and non-pine qi rhymes also. Bai Zhisheng is also moving and bent, prosperous and not flashy, holding festivals and chapters, the text turns with the day, the leaves are like knots, and the branches are like clothes and linen. There are paintings like snakes, and the heart is reversed, nor is it. It has catalpa, tong, tsubaki, oak, elm, willow, mulberry, locust, the shape is different, its distant thinking is united, one by one.
The image of the landscape and the water is full of momentum. Therefore, the peak of the peak, the peak of the flat peak, the round mountain, the connected mountain, the cave, the cliff, the cliff, the rock under the cliff, the road through the mountain valley, the yue yu, the water in the yu, the water in the mountain, the stream. Although its upper peaks are different, its lower hills are connected, covering the forest springs, faintly near and far. Husband painting landscapes, there is no such image nor also. There are paintings flowing water, the next pen is crazy, the text is like a broken line, there is no wave of high and low, nor is it also. Fu fog and clouds, light and heavy sometimes, the potential or the wind, the image is uncertain, we must remove its complexity, take its big points. First you can know the right and wrong, and then you can be influenced by its brushwork.
He said, "Since ancient times, who is prepared?" "There are few who get it." Sheikh Pin Lu won the victory, and now it is difficult to meet his relatives. The picture left behind by Zhang Monk is very unreasonable. Fu is endowed with color with the class, and has the ability since ancient times; such as the water halo ink chapter, xing I Tang Dynasty. Therefore, Zhang Xuan's outer trees and stones are full of charm, and the pen and ink are micro; the true thoughts are outstanding, not expensive and colorful; the ancient and the present, and there are no more. Qi Ting and Baiyun Respected Master, the weather is exquisite, both have their own yuan, the use of Yi Chang, unfathomable. Wang Youcheng's pen and ink are beautiful, the atmosphere is high-definition, the clever writing is like it, and it also moves the true thoughts. General Lee thought deeply and far-sightedly, and his handwriting was very refined, although it was ingenious and brilliant, it was a great loss of ink. Xiang RongShanren tree stone stubborn. There is no [foot chase] in the edges and corners, the use of ink to get the Xuanmen, the pen without its bones, but in the relaxed, not distorted meta-weather, no great creation and charm. Wu Daozi's pen is better than an elephant, his bones are high, the tree does not speak of the picture, and he hates no ink. Chen Yuanwai and the monk Daofen below, rough ascension to the ordinary, the role is not strange, pen and ink travel, very traces. The path of the present son cannot be prepared. 'The previous writer's isotherm diagram was taken and presented.
He said, "The meat pen cannot be used, the muscles and bones do not rotate, so how can the different pines be used?" I both teach sub-penmanship. 'It is a number of primes, and it is written for the right purpose. He said, 'The hand of Er, my heart.' I hear what he says and knows his deeds. Can the Son speak to me? Xie Yue: "It is the teaching of knowledge, and the office of the sage is also." Lu and not Lu, and can not go. The traces of good and evil are felt. If you are tempted to do so, dare not be ashamed. Because of the ancient pine, the praise said: "There is no withering and no glory, but the pine is virtuous." The situation is high and dangerous, and it is humble. Leaf leaf green cover, branch plate red dragon. There are vines underneath, and the shadows are cloudy. How to get born, close to the peak of the clouds. Lift it up and lift a thousand weights. In the majestic stream, the green smoke cage. Strange branches hang upside down, wandering and flexible. Under the van wood, and different. Endowed with noble poetry, the wind of a gentleman. The wind is clear and restless, and the sound is condensed. ’
He said, "May the son be diligent, but forget the pen and ink and have the real scene." My dwelling place, that is, between the stone drum rocks, the word is the stone drum rock zi also. He said, "I wish to pass it on." "Not necessarily also." So he resigned. Don't visit it one day without a trace. After learning his penmanship, he tasted the transmission. I am studying the collection today, thinking that it is the track of the picture.
Hou Liang Jing Hao (paragraph) "Landscape Divine Product" Zhao Yongbao
Paraphrasing the Five Dynasties of Jing Hao's "Notes on Brushwork" (original creative translation)
译
The Taihang Mountains have a place with a hong valley, and there are dozens of acres of fields in it, where I often cultivate the land and cultivate the land to support myself. One day, I climbed the Shenzhen Mountain to watch in all directions, and when I came back, I entered the gate of the big rock, and after entering the big stone gate, the green moss covered the valley path, the trail was dew crystalline, the strange rocks were lined with strange rocks, and the smoke of Xiangrui was ethereal, and I quickly carried out there, and there were ancient pines everywhere. In the middle, there was a large pine tree surrounded by a person alone, the pine bark was old and covered with moss, the pine branches were like flying dragons, and the bundles of pine needles were like scales, all of which took off in the air, and the posture of the cockroach seemed to be attached to Yunhan. The pine trees in the forest are upright and tall, upright, heavy and thriving; the pine trees that cannot become forests, the pine branches around the pine joints bend and coil alone. Some pine trees have a roundabout root system exposed to the soil, and some pine trees cut off huge rivers and hang on the shore, hovering in streams, covered with fresh moss and cracked stones. I was amazed at its strangeness and watched these sights over and over again. Tomorrow onwards, I will carry pen and ink paper every day, and repeatedly sketch and sketch these scenes, probably tens of thousands of copies, just as they really are.
The following spring, I came to the place of Shiguyan and met an old man. So I asked him, and the answers to these questions and answers, as well as the reasons for their comings and goings, are here.
The old man asked, 'Do you know how to use a pen?' ’
I asked him, 'Old man, you look like a rough man in the mountains, do you know how to write?' ’
The old man replied, 'Don't you suspect that I don't understand because you don't know my reasons?' I listened to his answer and was ashamed and horrified. The old man continued, 'Teenagers are studious and can succeed in the end.' There are six points of painting: one is qi, two is rhyme, three is thinking, four is scenery, five is pen, and six is ink. ’
Jing Hao SongYuan Hui Qin Tu Axis Freel Art Museum, pseudo, Ming ren painting
(1) Take the object as it is
I replied, 'To paint this thing is to paint a colorful shape.' But the most valuable thing is to paint like the real thing, isn't that how it is painted? ’
The old man replied, 'Not so.' To paint this thing is to paint. Speculate on the image of objects to obtain their true essence. The color of the object acquires its color; the real form of the object captures its solid form. It is not possible to use the appearance of color as the essence of solid form. If you don't know that this law is necessary, it is okay to be similar; if you want to get the true essence, it is impossible to touch the essence. ’
And I asked, 'Why is it like this?' Why is it true? ’
The old man said, 'He who is like him has gained his form and lost his breath.' The true one, the temperament is flourishing, and the transmission of mortal qi is lost through the external color appearance, which is the dead image of the image. ’
I thanked the old man and said, 'Therefore, the man who knows the number of books and magazines is the knowledge of a man of great fame and virtue.' I am a farmer who does farm work, and I do not know the essence of painting, I just play with pen and ink to achieve similarity with objects, and I have never achieved anything. Shame on your grace for receiving important guidance, certainly not very well drawn. ’
The old man said, 'He who covets desire is a thief of life.' Celebrities indulge in music, piano playing, calligraphy, drawing, painting, replacing the removal of distracting greed. Since you are close to and love painting, you expect you to always learn, not to retreat, and to demand progress.
(2) The painting has six points of "qi, rhyme, thought, scenery, pen and ink"
The key to drawing and painting, I will give you a complete talk: Qi, this thing, that is, painting should be the heart running with the pen, the pen is the heartbeat, and the image of the scene is not confused. Rhyme, this thing, is to hide the traces of objects and establish an image, full of complete manners and appearances and not vulgar. Thinking, this thing is to delete the complicated scenery, pluck out the large main scenery, clarify the main scene, and condense the image scenery of the concentrated imagination. Scenery, this thing, is to make the scene in the painting, to measure the reasons for different times and the scenery is different, to search for wonderful scenery to create an image of the true essence. The pen, this thing, although it must be in accordance with the law, but it must be transported and transformed, not bound by the texture of the object, not constrained by the shape of the object, flexible as a fly, to be imposing. Ink, such a thing, is that the ink color should have a high and low halo change, according to the distance of the object there is a light and dark dry wet ink color, the texture color is natural, as if it is not the cause of the pen but the role of ink. ’
The old man went on to say, 'God, wonder, wonder, coincidence.' The divine one, without deliberately contrived and unnatural man-made traces, allows its natural pen and ink movement to form an image. The magician conceives the reasonable regularity of the longitude and latitude through the heavens and the earth, conforms to the temperament of thousands of things, the texture and color conform to the manners of the objects, and various varieties of objects naturally flow out of the pen. Strangely, the traces of the changed pen and ink are unpredictable, which may be different from the real scene, and even lead to deviation from the object itself, which is naturally different, and this effect is also obtained because there is a "pen" said by the "six points" and no "thought" said in the "six points". Skillful, the carving embellishment is similar to the object, in line with the large image, enhances the texture color of the freehand, and enhances the image of the "qi" of the outer mi, which is said to be real and insufficient and gorgeous, that is to say, 'not similar to the god'.
Jing Hao Xishan Guizhuo Scroll Freer Art Museum, pseudo, Qing ren painting
<h1>Landscape endowment</h1>
Whoever paints landscapes is intended to be the first to write. Zhangshan ruler tree, inch horse bean people. This is also a gram. Distant people have no eyes, far trees have no branches, distant mountains have no stones, high and cloudy; far water has no waves, faintly like eyebrows. This formula also. Mountainside cloud plugs, stone wall spring plugs, terrace tree plugs, road congestion. The stone is divided into three sides, the road looks at the two corners, the tree looks at the top of the page, and the water looks at the shore foundation. This method also.
Where the painting of landscapes, sharp peaks, flat cliffs, caves, rocks, round shapes, mountains, roads through the river. The two mountains are between the road, and the two mountains are between the water. Water Injector Creek, Spring Passer Valley. The slope of the small earth hill under the road is extremely eye-catching and flat. If you can distinguish this, you will know the water and water as well.
The viewer first looks at the weather, and then identifies the turbidity. The arch of the guest and the lord, the majesty of the crowd. More is chaotic, less is slow, no more, no less, far and near. Distant mountains must not be connected to near mountains, and far waters must not be connected to near water. The mountain should be hugged back, and the temple can be safe. Broken bank Ban causeway, small bridge should be placed. There are pedestrians where there are roads, and trees where there are no roads. The shore is in the middle of the ancient ferry, the mountain is in the deserted village, the water is wide in the sail, and the forest is dense in the shophouse. Cliffs are ancient trees, roots exposed and vines entangled; strange rocks, embedded in the air and water marks.
Where there is a forest, the far is sparse, and the near is dense. Those with leaves have soft branches, and those without leaves have hard branches. The pine skin is like scales, and the cypress skin is wrapped around the body. Born in the earth is slender and straight-stemmed, born in the stone people fist and handsome. There are many ancient wood festivals and half dead, and the cold forest is sparse and Xiao Sen.
Whoever paints landscapes must press four times: the spring scenery is fog locked in the smoke cage, the forest is hidden, the distant water drags blue, and the mountain color is piled up; the summer scenery is covered by trees, the green Wu pingsaka, the Evian waterfall, the pedestrian lupine, the near water pavilion; the autumn scenery is the water and the sky are one color, the forest is sparse, the Yanhong autumn water, the Ludao satin; the winter scenery is the snow, the water is shallow and flat, the frozen clouds are turned on, the wine flag is isolated, the fishing boat leans on the shore, and the woodcutter is paid.
Wind and rain do not distinguish between heaven and earth, it is difficult to distinguish things, pedestrians stand on umbrellas, and fishermen are dressed. There is wind and no rain, the branches and leaves are obliquely draped; there is rain and no wind, and the branches and leaves are drooping. The rain is cloudy, the mist is faint, the mountain light is shallow and green, and the net is oblique. Xiaojing is a thousand mountains, light fog, hazy moon, and meteorological light. At dusk, the mountain is set by the sunset, the dogs bark at the fence, and the monks throw themselves into the temple. Sails unload Jiangmei, pedestrians return to emergency, half cover firewood. Or smoke and fog, or distant clouds. Or the Qiujiang Ancient Ferry, or the Desert Tomb Broken Monument. Or the spring color of the cave garden, or the mist of Xiaoxiang. And so on, so to call it a painting topic.
The penmanship arrangement, more in the temporary. Mountain walks must not be repeated, and tree heads must not be neatly organized. The tree borrows the mountain as a bone, and the mountain borrows the tree as a cloth. The tree shall not flourish, but shall see the beauty of the mountain; the mountain shall not be chaotic, but shall see the brilliance of the tree. If you can pay attention to this, you will be aware of Yuanwei.
The lazy stone is not hard, and the heart is not strong. The tip tree is not old, and the ink cloud is not light.
Jing Hao Xishan Travel Chart Axis Freer Art Museum, pseudo-Qing painting