<h1 class= "pgc-h-arrow-right" > the shoulder handles and their masterpieces in the history of Chinese art (IV</h1>).
Author: Reader Huang Yuanhui, focusing on humanistic history, quality standards, intellectual property rights
Recommended reading list: "History of Chinese Art", "Chinese Art and Culture", "History of Chinese Art Written to Everyone", "The Power of Art", "The Shock of New Art", "Civilization", "The Story of Art", "Psychology of Literature and Art", "Spirit in Art", "Cao Xingyuan • 50 Lectures on Chinese Art"
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6. Landscape painting
Landscape painting is a very important category of Chinese art. The ancients painted green mountains and rivers, not only out of appreciation of the beauty of nature, but also used to express a certain complex, spirit, ideals, beliefs, especially the literati class liked to "attach love to the landscape".
("You Chun Tu")
"You Chun Tu" is a painting created by the Sui Dynasty painter Zhan Ziqian, silk, green and green, and the painting has the six characters of "Zhan Zi Qian You Chun Tu" inscribed by Song Huizong, which is now in the Painting Museum of the Palace Museum in Beijing. Zhan Ziqian went through the four dynasties of Eastern Wei, Northern Qi, Northern Zhou and Sui, and was good at painting landscapes, and was known as the "Ancestor of Tang Painting" by later generations.
"You Chun Tu" is the earliest landscape painting that can be seen today, and Zhan Ziqian shrinks the people and horses in the painting, making it an embellishment of the landscape and highlighting the dominance of the landscape in the picture. The mountain cyan and pale green of trees and river banks, which are heavily used in the paintings, set a precedent for the green landscape of the Tang Dynasty. Later, Li Sixun, Li Zhaodao and his son carried forward this painting method, making the green landscape an independent artistic style. By the time of Emperor Huizong of song, Wang Ximeng's "Map of a Thousand Miles of Rivers and Mountains" made the green landscape reach its peak.
(Part of "A Thousand Miles of Rivers and Mountains")
Mr. Fu Xinian, an expert in calligraphy and painting, once wrote an article entitled "Discussion on the Age of Zhan Ziqian 'You Chun Tu]", which examined the architecture and character costumes, and believed that "You Chun Tu" was a replica of the Northern Song Dynasty, not the original work of Zhan Zi Qian. Teacher Cao Xingyuan also thought the work was suspicious because it had Liang Qingbiao's collection seal on it. Liang Qingbiao was a collector in the late Ming and early Qing dynasties, listed in the "Biography of the Second Minister", he had a "unique skill" is to piece together the inscriptions of celebrities, and another suspicious work that passed through his hand was "A Thousand Miles of Rivers and Mountains".
(Li Zhaodao, "Ming Emperor Xingshu Tu" (biography))
Li Sixun was a relative of the Tang Dynasty, and during the reign of Emperor Gaozong, he served as the capital of Jiangsu. After Wu Zetian took over the throne, Li Sixun abandoned the official and went into hiding for more than twenty years, until Emperor Zhongzong of Tang ascended the throne again, and then he once again entered the dynasty as an official and served as Zong Zhengqing. During the reign of Emperor Xuanzong of Tang, he served as the Grand General of Zuo Yulin (左羽林將軍), the Duke of Pengguo (彭国公), and later the rank of Grand General of Right Wu Wei (右武衛大將軍). In the history of painting, he was called "General Li", and together with his son "General Xiao Li" Li Zhaodao, he was called "General Li", which played a pivotal role in the history of landscape painting.
After the Anshi Rebellion broke out, the rebels marched on Chang'an, and the following year Tang Xuanzong fled with his harem, clan relatives, and ministers to Take refuge in Shu County. When they arrived at Ma Songpo, there was a military coup, and Tang Xuanzong was forced to kill Yang Guifei. In August of that year, the emperor's team finally arrived at the Jianmen Pass area and reached Shu County. The Ming Emperor Xingshu Tu depicts this incident, that is, the situation when Tang Xuanzong drove to the area around the Sword Gate Pass.
The whole picture, the weather is varied, full of vitality, the colors are bright, as if the glass world, there is no scene of the emperor fleeing. Tang Xuanzong was painted as a middle-aged man, who was actually over 70 years old when he fled to Shu. Li Zhaodao probably couldn't face the sad picture of a dying old man fleeing among the dangerous mountains, so he simply painted it as "Spring Mountain Travel Map" ("Ming Emperor Xingshu Map" also known as "Spring Mountain Travel Map").
This is the green landscape established by General Li - "green is the quality, gold and blue are the pattern", which is considered to be the "Northern Sect" of landscape painting. After the Tang Dynasty, with the rise of the "Nanzong" ink landscape with Wang Wei as the ancestor, the green landscape gradually fell silent. It was not until the rise of retro trends in the painting world of the Northern Song Dynasty that painters once again picked up the almost forgotten green landscapes and created another peak of green landscapes, such as Wang Ximeng's "A Thousand Miles of Rivers and Mountains" and Zhao Boju's "Autumn Colors of Jiangshan".
("Early Spring")
The "Early Spring Figure" is 158.3 cm high and 108.1 cm wide, and the left side of the picture is inscribed: "Early Spring, Guo Xi Painting in the Year of Nongzi." "Early Spring Map" is Guo Xi's late work, now in the National Palace Museum in Taipei, and is one of the treasures of the town hall.
The main scenery of "Early Spring Map" is concentrated on the central axis, and the composition is composed with a combination of panoramic high, flat and far-reaching, with Gao Yuan as the mainstay. The main body in the painting is a huge mountain that spirals in an "S" shape, with more rocks and less soil, which is typical of the northern mountains. Guo Xi subdivides perspective into "high, far-reaching, and flat". Looking up at the summit from the bottom of the mountain is called "high and far"; looking at the depths of the mountain from the front of the mountain is "far-reaching"; looking at the distant mountain from near the mountain is called "Pingyuan".
Landscape painting in the Song Dynasty emphasized "swim, habitable, and observable". Contemporary painter Xu Jianrong commented: "Feasible, livable, hopeful, and travelable", reminiscent of Su Dongpo's "Guo Xi Painting Qiushan Pingyuan ( Lu Gong is a tail. "Yutang hides the spring day and day, and there is Guo Xi painting Spring Mountain." The dove milk swallow first fell asleep, and the white wave green ridge was not human. ”
("Xishan Travel Map")
"Journey to Xishan" is a silk ink stroke created by Fan Kuan of the Northern Song Dynasty, which is now in the National Palace Museum in Taipei. This landscape painting is 206.3 centimeters high and 103.3 centimeters wide, belonging to the "giant monumental landscape painting", known as "the first divine product of Song Dynasty painting", and Dong Qichang called it "the first Song painting".
Dong Qichang has inscribed in the "Xishan Travel Map", "Northern Song Dynasty Fan Neutral "Xishan Travel Map", Dong Qichangguan", "Neutral" is Fan Kuan's character. Mr. Li Lincan had carefully observed and studied this work, and saw the two small characters "Fan Kuan" between the leaves in the lower right corner of this work, which was certain that Fan Kuan was the original handwriting.
(Fan Kuan characters in "Xishan Travel Map")
Fan Kuan's works are mostly based on the mountains around guanzhong in his hometown of Guanzhong, Shaanxi, which are majestic and magnificent, with thick pen strength, and are known as "the bones of the mountains" and "the gods of the mountains". Fan Kuan made good use of the "raindrop" and "ink accumulation method", and the details of the zhongshan stone were drawn with this brushwork, resulting in a melancholy effect of "like walking on the night mountain" ("Xuanhe Painting Spectrum"). Fan Kuan is also good at painting snow scenes, and is known as "painting mountains and painting bones and painting souls". On the right side of the mountain, there is a thin waterfall, which is divided into two in the middle, and the current is three thousand feet straight down, and the momentum is like a rainbow, making the whole painting full of flexible vitality.
Xu Beihong commented: "Of all the treasures in China, the Forbidden City has two. The one I most admire is Fan Zhongzhong's "Journey map of the stream and mountains", which is majestic, shenxiong and ancient, and the work of honest and easy to open up. This painting is not only a huge frame, but also a mountain, accounting for two-thirds of the total area, the chapter is abrupt, making people stunned! ”
(Ma Yuan's "Spring Trip map of mountain paths")
(Part of Xia Gui's "Qingyuan Map of Xishan Mountain")
"Spring Walk on Mountain Trail" is a famous painting of Ma Yuan, 27.4 cm in length and 43.1 cm in width, and is now in the collection of the Taipei Museum. The composition of "Spring Walk on Mountain Trail" is quite distinctive, the pen and ink are concentrated in the lower left corner of the painting, and a large amount of blank space is left on the right side, which is a very typical Mayuan composition. There are two poems in the upper right of this painting, which are inscribed by Empress Yang, the wife of Emperor Ningzong of the Southern Song Dynasty: "Touch the sleeves of wildflowers to dance by themselves, avoid people and birds do not become crows."
Southern Song Dynasty landscape painting has the saying of "horse one corner, summer half", ma one corner refers to Ma Yuan, and xia half refers to Xia Gui. Ma Yuan's paintings only draw one corner, and Xia Gui's paintings only draw half a piece of paper, which is the characteristic of their paintings. The Southern Song Dynasty lost half of the country, and their paintings only painted half or a corner, which has the meaning of a corner of peace.
In early painting, people and landscapes were separated from each other, and landscapes were used to embellish figures. During the Sui and Tang dynasties, people began to enter natural space. During the Northern Song Dynasty, landscape painting ushered in a peak, but people were still outside the landscape. During the Southern Song Dynasty, people began to awaken, landscape painting gradually dominated by "I", "I" is no longer a vassal of landscape, such as Ma Yuan's "Spring Travel Map of Mountain Paths", the proportion of characters is very large, concentrating on appreciating nature, anti-guest-oriented, reflecting a strong initiative.
One of Xia Gui's most famous works, "Xishan Qingyuan Tu" is composed of ten pieces of paper, now in the National Palace Museum in Taipei, 46.5 cm in length and 889.1 cm in width, and the works are divided into three sections.
Xia Gui used a "sketching" technique here, using brush strokes such as "axe splitting" and "scraping iron" to create this long scroll painting that has been handed down for generations. In the previous partial map of the Qingyuan Map of Xishan Mountain, there is a very lush forest enclosing a temple in it, which is called "airtight". After passing through the dense forest (left), Xia Gui used a few strokes of light ink to depict a very vast space, which is called "loose horse".
(The airtightness and sparseness of "Qingyuan Map of Xishan Mountain")
("Fuchun Mountain Residence Map" (Leftover Mountain Map))
("Fuchun Mountain Residence Map" (Useless Division Volume))
"Fuchun Mountain Jutu" is an ink painting on paper created by the Yuan Dynasty painter Huang Gongwang in 1350, known as the "Orchid Pavilion in painting", which is a national treasure level cultural relic and one of the top ten famous paintings in China.
"Fuchun Mountain Residence Map" was painted by Huang Gongwang for his disciple Zheng Fan [chū] (useless teacher), and is considered to be a representative work of literati style and reclusive spirit, and is a typical "literati painting". The painting changed hands several times, and was later divided into two sections due to the "burning painting martyrdom", the first half of the volume is called the Remaining Mountain Map, which is now collected in the Zhejiang Provincial Museum, and the second half is called the Useless Division Volume, which is now in the National Palace Museum in Taipei.
After experiencing frustration in life and official setbacks, Huang Gongwang began to pick up a paintbrush and study painting with his heart, which can be described as a late success. He lived in seclusion in Fuchun Mountain, and was 82 years old when he created "Fuchun Mountain Residence Map". Huang Gongwang's dao number was called "Great Foolish Daoist" (he joined the Quanzhen Sect after the official defeat), and his disciple Zheng Fan was called "Useless Teacher". Huang Gongwang later influenced painters such as Dong Qichang and the Four Kings of the Early Qing Dynasty.
The Fuchun Mountain Jutu is not a complete work, and is divided into "Leftover Mountain Map" and "Useless Master Volume". The "Leftover Mountain Map" and the "Useless Master Scroll" have been circulating for hundreds of years, and finally in May 2011, a "point delivery" ceremony was held in Beijing, and the two picture scrolls were exhibited on the same stage as "Broken Mirror And Re-round", which became a good story.
("Quehua Autumn Color Map")
"Quehua Autumn Color Map" is a landscape painting by the Yuan Dynasty painter Zhao Mengfu who returned to his hometown of Zhejiang in the first year of yuan zhen (1295) and made a color landscape painting on paper for his friend Zhou Mi, which is now in the National Palace Museum in Taipei. "Quehua" refers to the Queshan and Huabuzhu Mountains in Jinan.
At a glance, this painting has a large number of inscriptions and seals of collectors, especially the Qianlong Emperor used the imperial pen to write the four characters of "Quehua Autumn Color" at the beginning, and added many seals such as "Divine Product", "Treasure of Qianlong Imperial Collection", "Ancient Rare Heavenly Son", "Taishang Emperor" and so on.
The famous people who handled this painting were meticulous, Wen Mingming, Wen Peng father and son, Nalan Mingzhu, Naran Sex de father and son, etc., and later fell into the hands of collector Liang Qingbiao.
In this painting, Zhao Mengfu broke the original established perspective norms, that is, the Plain, Lofty and Far-reaching of the Song Dynasty, and integrated calligraphy into the painting technique with the brush, so that the whole painting presented a clumsy and simple state, which is the realm that Zhao Mengfu pursued - "painting is expensive and has ancient meaning".
("Rong Knee Zhai Tu")
"Rong Knee Zhai Tu" is an ink painting on paper created by Ni Zhan in the late Yuan and early Ming dynasties, which is now in the National Palace Museum in Taipei. "Rong Knee Zhai Tu" was painted by Ni Zhan when he was 72 years old for his friend Barberry Xuan, who had a friend named Pan Renzhong, and Pan Renzhong had a small book called "Rong Knee Zhai", which means that this book is so small that it can barely accommodate the knee.
Ni Zhan was well versed in Buddhist taoism, and was inspired by the style of the Wei and Jin dynasties, paying attention to the detachment from earthly fetters when painting, and profoundly reflecting the spiritual other side of the Chinese literati. In the "Rong Knee Zhai Tu", an empty pavilion is set up but no one is seen, and Ni Zhan has the famous sentence "There is no one under the pavilion, and the sunset filters the autumn shadow", which is the lament of "there are people in this world".
Ni Zhan had a serious cleaning habit, and it was said that he had to wash his hands many times a day, and he also asked people to wash the trunks of the trees in the yard. Hearing others laugh at him, he said: We are going to take a bath, and of course the tree needs to bathe. It is this kind of personality that Ni Zhan cherishes ink like gold when painting, the picture is spotless, and there is a minimalist charm.
("Wan Lou Cao Tang Tu")
In 1597, Songjiang Caizi Chen Jiru built the Wanjiao [luán] caotang at the Xiaokunshan reading desk, and Dong Qichang specially visited and created the vertical axis of the "Wanjiao Caotang Diagram". The creation of "Wan Lou Caotang Tu" marks the birth of a new style of literati painting in the Ming Dynasty, and opens the arrival of the "Dong Qichang Era" in the history of Chinese painting. To this day, we have not yet stepped out of the values of literati painting as defined by Dong Qichang.
Dong Qichang imitated many famous masters in the "Wan Lou Caotang Map", and a mountain peak in the upper right has the wind of Fan Kuan. Looking down, he painted the state of the mountain in black ink, which is the mountain in Mi Fu's pen. There is a platform at the bottom of the mountain, and there is a small pavilion on the platform, which is wanjiao caotang, which is quite similar to Ni Zhan's "Rong Knee Zhai".
A mountain on the left seems to be the peak of Huang Gongwang's "Fuchun Mountain Jutu". The dark mountain peaks descending were imitating Wang Wei. The dead tree in front has the effect of Ni Zhan's dry pen light ink. The details of the mountains and branches are like the "crab claws" of Li Cheng and Guo Xi. The stone of the long tree is very close to Zhao Mengfu's "Quehua Autumn Color Map".
Dong Qichang's greatest achievement in art theory is the "Theory of The Southern and Northern Sects", which of course has also caused a lot of controversy. Dong Qichang redefined the primary principle of literati painting: the creator must be a civilian official. Literati do not go to the officials but specifically paint, that is a professional painter, not a literati painter.
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