"Fuchun Mountain Jutu", the author Huang Gongwang, Chinese Yuan Dynasty paintings, is one of the top ten famous paintings in ancient China, known as "the Orchid Pavilion in Painting" and "the first divine product of Chinese landscape painting". "Fuchun Mountain Residence Map" is 33 cm in length and 636.9 cm in width, on paper and ink, first painted in the seventh year of Zhizheng (1347) and completed in the tenth year of Zhizheng. The painting was burned during the Shunzhi period of the Qing Dynasty, and was broken into two sections, the first part of which was framed separately and renamed "Leftover Mountain Map", which is stored in the Zhejiang Provincial Museum. The later section still follows its original name, the National Palace Museum in Taipei.
On June 1, 2011, the "Fuchun Mountain Residence Map" hidden on both sides of the Taiwan Strait was exhibited at the National Palace Museum in Taipei, which was the first time that China's top ten landscape paintings "Fuchun Mountain Residence Map" were fully presented after decades of separation, and this exhibition attracted widespread attention at home and abroad.
What kind of painting is "Fuchun Mountain Jutu" and why has it touched the hearts of Chinese so much in the 600 years since its birth? Why was it divided into two halves, half of which remained in the Zhejiang Provincial Museum and half in the National Palace Museum in Taipei? What is the story behind this painting?
What is the good thing about "Fuchun Mountain Jutu"?
The "Fuchun Mountain Residence Map" is more than one foot high and about two inches long. It depicts the scenery of early autumn on both sides of the Fuchun River. Picture peaks and flat slopes, jungle tree houses, fishing boat bridges. Grass and wood platform stones and other rotational, dense, different postures, rich and natural. The painting effect of the whole painting gives people the artistic feeling of "the scenery moves with the people, the people move with the scenery, and the steps can be observed".
In this painting, Huang Gongwang uses a clean and clean pen, without a sense of frivolity. The painting methods include Dong Yuan and Ju Ran's wet pen phittling, there are also long and short dry pen rubbing, and between the peaks of the waves, a brushwork similar to "Mi's Yunshan" is also used. The ink color is transparent and dignified, and the gestures are delicate and delicate. The whole picture is rendered with only a rare light ink, highlighting the play of pen and ink interest. The main styles of Huang Gongwang's landscape paintings are two: one is shallow landscape, the mountain head is more alum, the gesture is majestic; the other is the ink landscape, less rubbing, the brushwork is simple and far away, and the mountain peak has the round and transparent effect of jade.
Huang Gongwang once lived in Fuchun Mountain, often "wandering outside the clouds", when encountering landscapes and rivers, he painted at will, this picture was first made in the seventh year of Zhizheng (1347), almost 10 years of painting to complete, is Huang Gongwang's most proud work, and later generations of painters also have a high evaluation of this painting. Dong Qichang, a ming dynasty collector and great painter, said that when he saw the painting in Chang'an, he actually felt that his heart was "full of spleen" and that "the exhibition was promised three times and was overwhelmed." "And this great work really makes people feel like they are thousands of miles away, and they are breathtaking."
The historical background of "Fuchun Mountain Residence Map"
In 1347, the Yuan Dynasty master of calligraphy and painting Huang Gongwang created the "Fuchun Mountain Jutu", which is also considered to be the highest masterpiece of Yuan Dynasty literati painting and one of the most famous works in China, this painting uses more free and varied brush and ink to depict the landscape, through the ups and downs of the mountain and the change of brush and ink, showing the inner life of the landscape.
In the Yuan Dynasty, Han intellectuals have always had difficulty in obtaining the traditional path of "learning and excellence", and they pinned their time, energy and ideological feelings on literature and art, and landscape painting, which is closely related to this trend of thought, has become one of the important areas of this emotional sustenance. Especially at the end of the Yuan Dynasty, when war broke out, more literati escaped from Shida and lived in a semi-reclusive state, slowly forming the "literati painting" of the Yuan Dynasty.
"Fuchun Mountain Residence Map" has been circulating a brief history for 600 years
There are two paintings in the "Fuchun Mountain Residence Map", one of which was first drafted in the seventh year, and only after three or four years was inscribed, and it took ten years to complete, which was painted as a "useless teacher" (according to research, It is believed that Zheng Wuxian Daoist) was painted. The other is considered a "forgery" called the "Ziming Scroll". The picture reads: "Ziming Yinjun will return to Qian Tang, and he needs to paint a mountain scene, this gift." The great fool is publicly respected. To Yuan Pengyin (1338) autumn. From this inscription, it can be known that this painting was painted for "Ziming Yinjun", and Gongwang was 70 years old. The previous "Useless Master Roll" was 82 years old. Judging from the two titles, there is a difference of 12 years.
The "Ziming Scroll" of the "Fuchun Mountain Jutu" was once obtained by Qing Qianlong and was identified as the "True Handiwork of Huang Gongwang", and he loved it. Each time I watched a poem, I inscribed more than 50 poems for 48 years, and I still have no end in sight, and finally in the front of the water, there is a "future exhibition and play will not be re-titled". This "Ziming Scroll" is now in the National Palace Museum in Taipei.
Considered to be the "original manuscript", the "useless master volume", after more than a hundred years from the collection of Zheng Wuwu Daoist, reappeared in Suzhou during the Ming Dynasty, originally collected by the great painter Shen Zhou, and was purchased by Dong Qichang in Beijing around the time of Chenghua and treasured in the Shuchan Hall. Dong Qichang sold the painting to Wu Zhengzhi during the Wanli Dynasty, who in turn passed the painting on to his third son, Wu Hongyu.
Wu Hongyu was a famous scholar of letters at that time. His two favorite treasures in his life to death were the Zhiyong Thousand Characters True Manuscript and the Fuchun Mountain Jutu, so that on his deathbed, he instructed his son to burn the painting "Yan Martyrdom", so that he could still hold the painting under the Nine Springs. After burning Yongzhi's original "Thousand Character Text", his nephew Wu Ziwen could not bear the destruction of the famous painting and rushed to rescue it from the fire, but unfortunately the first part of the painting has been burned out in several places (the first part of the volume has been repaired, entitled "Leftover Mountain Map", which has also been preserved).
Around 1730, the main part of the scroll went to AnQi, an important collector of Chinese painting. He first collected imitations, and then he collected the real ones. At that time, Anqi was bent on finding the "Fuchun Mountain Jutu", so as soon as he received the imitation, he immediately evaluated the inscription in the blank space, a total of 55 inscriptions, and the whole painting became unrecognizable, but the real thing escaped the disaster. Since then, this long scroll has been divided into two sections, the latter of which is now in the National Palace Museum in Taipei. The former period was collected by the famous modern painter Mr. Wu Hufan during the War of Resistance Against Japanese Aggression, and later acquired by the Zhejiang Museum.
What is "literati painting"
The so-called "literati painting" view is mainly manifested in three aspects:
The first is to emphasize aesthetic taste, as Ni Zhan, the representative figure of the "Yuan Sijia", said: "The so-called painter of the servant is just a sloppy brush, does not seek similarity, and chats to entertain himself." "Painting is used for "sending pleasure", expressing one's predicament and venting resentment.
The second is the prominent emphasis on pen and ink; they believe that the lines, colors, and pen and ink of the painting itself can reflect the spiritual realm of the author, and they regard the blandness of the subject matter and style as virtues, with the purpose of showing delicate and moving characteristics in the blandness, and "Fuchun Mountain Jutu" is the standard sample of "literati painting", plain and simple, indifferent and simple, which is the perfect embodiment of the typical literati temperament.
Third, from the Yuan Dynasty onwards, painters began to write poems on paintings, forming a combination of poetry, books, paintings, and prints. At the end of the Yuan Dynasty, painters used rice paper a lot, because paper was more convenient than silk to play the rubbing and polishing effects of Chinese brush and ink.
Huang Gongwang's life
The painter Huang Gongwang was a native of Changshu, Jiangsu Province, born in 1269, talented and intelligent since childhood, and had worked as a petty official in middle age, but was imprisoned for the case and never again
There is a career path. He lived in Matsue for a time, making a living as a divinator, and later became a Taoist priest at the Sacred Well Penglai Temple. He studied the "Study of the Nine Streams" and was fluent in musical rhythms, and after the age of 50, he concentrated on painting landscape painting.
Guided tour by famous artists
From the existing scrolls, it seems that this painting starts from the quiet riverbank, unfolds a very calm Jiangnan scenery, and then we see a mountain peak, like the other two, towering and undulating, dividing the picture into several lengths. It first bends to the right, and then tilts to the left as it continues, with a valley sandwiched in the middle, and some of the hermit's heavy buildings in the valley. In the following passages we can see more houses in the valley, pine trees in the foreground, and a small gazebo in the pine forest. The viewer can only see the spirit emerging in the painting if he is fully engaged and melted into the chapter, because the scroll itself is used for myopia.
The composition of the whole picture scroll is vivid and layered, the focus moves from the foreground to the middle and rear scenes, the line of sight is sometimes taken to the distance, but it is immediately pulled back to the foreground, and the meandering agitation between the mountains and the black trees is called "open" and "closed" by later painters. The second main peak continues to retreat to the oblique rear, falling into the water with a gentle slope, the ink color gradually fades, and finally disappears into the smoke, still plain and tasteful, which is the consistent feature of the yuan painting. Huang Gongwang places the most lively section of the whole painting in the background: from the large pine forest, there is a fisherman, the other is on the right side of the pine forest, and a person in the pavilion under the pine trees is gazing at the flock of geese in the river.
