Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the paintings of the Southern and Northern Dynasties truly reflect the way of life and scientific and technological level of the people at that time, combined with the records of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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The Southern and Northern Dynasties period (420 AD ~ 589 AD) was a period of great division in Chinese history, inheriting the Eastern Jin Dynasty and the Five Hu Sixteen Kingdoms, and the Sui Dynasty, starting with the establishment of the Liu Song Dynasty by Liu Yu in 420 AD and ending with the destruction of Chen by the Sui Dynasty in 589 AD.
During the Southern and Northern Dynasties, art flourished, the South was dominated by painting, and the North was dominated by sculptures. Painting theory and painting history have been established during this period, such as Sheikh's "Paintings", which put forward the six methods of painting appreciation, and the "vivid charm" theory has been regarded as the highest level by successive generations of painting critics.
During the Southern and Northern Dynasties, the painters of the Liu Song generation of the Southern Dynasty, the most accomplished was Lu Tanwei, who painted figures to create a model of Beautiful Bone Qing Statue, which had a great influence on the time and later generations, and could be compared with Gu Kaizhi, so later generations often compared "Gu Lu". Lu Sui, the son of Lu Tanwei, was also known at that time as the Painting Sage (Yu Yuanwei's Treatise on the Book). Yuan Qian and Gu Baoguang were among Lu Tanwei's most accomplished followers. China's earliest landscape painters, Zong Bing, and Wang Wei, also appeared in the Liu Song Dynasty. According to the evaluation of the two of them in books such as "Paintings", the achievements of the landscape paintings of the two are far more worthy of recognition than the achievements in technical skills. Here we share the appreciation of the works of Xiao Xuan, a famous painter of Liang during the Southern Dynasty.
Appreciation of Xiao Xuan's paintings. Xiao Yi (508-554), a native of Nanlanling (present-day Wujin, Jiangsu). Southern Dynasty Liang painter, i.e. Liang Yuan Emperor. The character Shicheng, nicknamed Qifu. Emperor Wu was the seventh son of Xiao Yan. At a glance, he is both eager to learn and knowledgeable in technology. Initially enfeoffed as king of Xiangdong, he took the throne in the first year of the reign (552), and Wei yu fell to Jiangling and was killed. The technique is multifaceted, good at painting Buddha faces, deer cranes and scenery sketches, as well as painting foreign characters. Try to paint the "Statue of the Holy Monk", xiao Yan inscribed it. He also painted the "Statue of Xuanni" and praised it himself. People call it the "three absolutes".
Xiao Xuan's literary attainments are all-round, known as the three masterpieces of articles, calligraphy and painting, and he left more than 400 volumes of various literary works in his lifetime; his painting style was self-contained, which had a great impact on the Sui and Tang dynasties in later generations; he was obsessed with collecting all kinds of books, "forty years since the collection of books, 80,000 volumes of books." For his literary achievements, he was also quite conceited, and once commented on himself as "Tao yu scribe, ashamed of Wufu." ”
As a literati, Xiao Xuan was undoubtedly at the top of the pyramid; unfortunately, he became an emperor, and he was the kind with the lowest political literacy.
During the Southern Dynasty, the famous Liang painter Xiao Xuan's "Gong Tu" was appreciated
Liang Xiaoxuan Gongtu, Song Dynasty facsimile, silk color, length 25 cm, width 198 cm. Collection of the Museum of Chinese History.
"Gong Tu" is a painting work of Xiao Xuan of the Liang Dynasty of the Southern Dynasty, the original work has been lost, the existing Song Dynasty facsimile, silk color, silk color, vertical 26.7cm, horizontal 200.7 cm (formerly 402 .6cm) is the first in the history of Chinese painting to use foreign gong figures as the subject of painting Scroll Painting, is also the earliest existing Gong Gong Tu. At the same time, it also provides valuable historical evidence for future generations to study painting and history. The facsimile is now in the National Museum of China. Xiao Xuan's original tribute figures in "Gong Tu" were not less than 25 countries, and only 12 national portraits remain. From right to left: The Kingdom of Shui, Persia, Baekje, Guizi, Uighur, Wolf's Tooth Xiu, Deng Zhi, Zhou Guke, Oh Battan, HuMidan, Bai Ti and the Emissaries of the Last Kingdom.
In the picture, the envoys wear various national costumes and stand with their hands bowed. From the faces of the envoys, it can be seen that the envoys of various countries have both serious and happy expressions when they come to the Southern Dynasty court for a pilgrimage, and at the same time convey the different faces and spiritual temperaments of the envoys of different regions and nationalities. Behind each emissary, there is a brief inscription describing the name of the country, its location, the mountains and rivers, the customs and customs, the relationship with Liang, and the historical tribute.
One of the parts of the Gongtu
Part II of the Gongtu
Part III of the Gongtu
The "Gong Tu" is Xiao Xuan's autographed depiction of the appearance of the barbarian envoys who paid tribute to the Liang Dynasty, and was not just a pleasant piece of paper gossip used by the Imperial Family. More importantly, it is necessary to record historical facts and praise the prosperity of the dynasty, which was deeply appreciated by Emperor Wu of Liang. Xiao Xuan's "Gong Tu" uses horizontal scrolls to show the left-sided obedience of envoys from various countries, with the intention of promoting etiquette and admiration and submission to the Liang Emperor's holy dynasty, and his face is humble. As a symbol of national fortune, the "Gongtu" is an expectation of prosperity, and thus embodies Xiao Xuan's Confucian creed of ruling the country and the world.
During the Southern and Northern Dynasties of the Wei and Jin Dynasties, not only did figure painting mature, but landscape painting became an independent painting genre apart from the background of figure painting, and it also promoted the prosperity and development of landscape painting in the Tang Dynasty for thousands of years. At that time, Buddhist art flourished during the Gupta Dynasty of India, and Indian painters continued to come to China, which had a great influence on chinese Buddhist painting forms and painting techniques. Technically, the colorful and colorful color dressing and concave and convex smudging methods in the religious murals made full preparation for the maturity of the later heavy colors of the brushwork. The use of Chinese painting lines during this period was elevated to a new height, laying the foundation for the later Chinese painting to use lines as the main expression language. Gu Kaizhi's work "Luoshen Futu" of the Eastern Jin Dynasty, the whole painting is delicate and simple with a brush, and the lines are just like "spring silkworm spitting silk", which is implicit in the interior and takes the expression of intention as the first. The method of mountain and river tree stone painting "people are greater than mountains, and water cannot be flooded", which reflects the characteristics of early landscape painting.