Sansui Kozu(Light Blue Light) Sansuizu Suisho-Kakurinkozu
Chuan Zhou Wen painting, ink painting, pastel, length 108.0cm, horizontal 32.7cm, Muromachi period, 15th century Nara National Museum collection. Smell is cabinet compilation.
This picture is one of the masterpieces of ink landscape painting in the early Muromachi period, popular among Zen monks (Zen monks)). According to the opening sentence of the first poem of the three poems on the map, commonly known as the "Water Color Mountain Light Map", this is a painting that expresses the ideal of the literati, in the quiet nature away from the hustle and bustle of the city, the neat grass temple, enjoying the pleasure of reading. In real life, Zen monks run a study in the metropolitan temple, and when it is completed, they hold a blessing ceremony, which usually first names the book and depicts paintings that are far away from the real world and become their own heaven and earth; secondly, the monks of their friends write yinghe poems, and the poems are inscribed on the paintings, thus becoming a work of painting and poetry. This type of work is also known as the "Poetry Scroll".
The scrolls of poetry and painting mainly prevailed during the years of Ying Yong (1394-1428) and Yong Xiang (1429-1441), but from the last poem of this map, it is known that this picture was written about the second year of Wen'an (1445 AD) or a little earlier, so it can be said that it shows the style of this kind of painting maturity period! At the same time, as a landscape work, its mature performance cannot be ignored. Compared with the masterpiece of the Shuzhai Tu of the Ying Yong Period and the "Qingxi Yin Xiaozhu Tu (Kyoto JindiYuan Collection)", which was written in the 20th year of Ying Yong (1413 AD), the Shuzhai is placed in the center of the picture, taking up most of the space, and it is surrounded by landscapes with unclear relationships between near and far, like abstract symbols, and the composition is quite simple, so that people cannot feel its spatial depth. In contrast, this picture does not use the method of exclusive painting of the book, but takes three pine trees as the main body of the picture, draws a point-like study next to the huge rock, and actively depicts a distant view with close-up views, a mid-waterside scene, and a continuous peak, constituting a very magnificent landscape.
Needless to say, there is a lack of close correlation between the various elements of the picture, and the performance of the three-dimensional space is not very reasonable, and these problems must wait until the next era, that is, Xuezhou (1420-1506, Zhou Wenxuezhou's teacher). ) is only overcome. However, this kind of incomplete rationality can be said to be a kind of unreality required by the book map, so it is better to understand it with a positive attitude! In this sense, this diagram can also be said to be a representative work of ultra-secular art bred by the Zen world.
Japanese ink painting has chinese painting elements from the Song and Yuan dynasties, and the comparison of Liang Kai and Zhou Wen's works can be seen.
Liang Kai paintings
Zhou Wen's works