Introduction: Hongren's landscape paintings opened up a desolate and cold painting style, to a certain extent, changed the atmosphere of society at that time to copy, his landscape paintings are very different from others, whether in composition or in lines, pen and ink give people a great visual impact.
Hirohito's landscape paintings show a zen aesthetic taste of "silence". His pen and ink do not have pulsating brushstrokes and flamboyant ink colors, the lines are fluffy and introverted, outlining the rigid "real" lines in the rubbing, creating a quiet and lonely atmosphere between the virtual reality. This cold and arrogant personality makes his paintings jointly convey the transcendent aesthetic realm of sparse simplicity, lazy wind god and no human fireworks.
《Ancient Maple Short Hagi Diagram》
01 Depicts the silent and dry land with lines
Hongren's works take Huangshan and Qiyun Mountains as the matrix. The pen and ink are fresh and silent, condensed and bright, and most of them are thirsty for ink with dry pens. The created realm is quiet and lonely, cold and transcendent, and there is no human fireworks in the picture.
Hongren was in an era of chaos and disintegration in the late Ming and early Qing dynasties. The area where he lived was the territory of the Southern Ming regime at that time, and Hongren had followed his teacher Wang Wuya to Fujian and attached himself to the Southern Ming Longwu regime. The anti-Qing and revival consciousness of the remnants influenced the early ideas of Hongren.
In the second year of Shunzhi, Hongren avoided chaos and entered wuyi mountain, and after rebelling against the Qing Dynasty and restoring the Ming Dynasty, Hongren chose to take refuge in Buddhism. The change of dynasties caused great trauma to Hirohito's heart, and after taking refuge in Buddhism, he became more and more immersed in Buddhist Zen theory, the entertainment of natural landscapes, and the nostalgia of poetry and poetry, and this change of thought also brought great influence to his landscape painting appearance, and also created the characteristics of Hirohito's unique personal appearance.
Huang Binhong commented: "Only Danlin's shaft color painting maple tree six trees, no bone method, stone green hook dot, ochre yellow rendering, heavy color painting, especially only." Cover painting is the most difficult to ink, the ink is not enough, and it is even supplemented by light colors, and non-color is also. ...... Lay workers do not know the pen and ink, specializing in Tu Ze, rich and prosperous, in vain to increase the luxury of the world, the joy of disposition cultivation, this gradual master's realistic landscape, the master's creation is especially heavy pen and ink. "Summarizes the overall characteristics of Hirohito's aesthetic pursuit of pen and ink."
His landscape paintings are mainly based on the scenery of Huangshan Mountain and Shexian County in Anhui Province, as well as Wuyi Mountain and Kuanglu Landscape. And a large number of imitations of the works of predecessors, of which Ni Zhan and Huang Gongwang are the most copied, but the works are given more personal style, and the works deeply contain the painter's own aesthetic understanding and pen and ink expression, which is completely Hongren's own corresponding Ni Zhan and Huang Gongwang. For his predecessors, Hirohito penetrated his own unique understanding, depicting the silent and dry state in his heart with affirmative and clear, energetic and moist lines.
"Imitation of Ni Zhan Landscape Map"
02 Depicted in ink, with few works of color
Hongren's pen and ink rhyme is largely a study of carrying Ni Zhan's pen and ink, but in the grasp of form and meaning, he naturally takes the ancient law and changes it, gradually forming a painting style with a unique personal appearance.
Since the flourishing of literati painting at the end of the Song Dynasty and the beginning of the Yuan Dynasty, the brush and ink of Chinese painting itself has an aesthetic value that transcends the meaning of image shaping, and has a unique charm and brilliance. Literati painters through the calligraphy of the brush weight, disease, virtual reality, strength and weakness, turning, setbacks, rhythm and other techniques, so that the lines, ink colors are shown in the thickness of the circle, thick and dry and wet, the ability to change, the formation of different rhythms, rhythms, meanings, showing different emotions, emotions. The purification of lines into a form with a musical melody has become the soul of Chinese plastic arts, and pen and ink have become an artistic language with independent aesthetic value.
Hongren landscape paintings take the method Ni Zhan, almost all of which are depicted in ink, with few works of color, and the picture is painted with ink such as yang Han of the Qing Dynasty in "Gui Shi Xuan Painting Talk": "The extremely thin place sees the plump, and the extremely delicate place sees the cangjin." Although there is nothing to fade, there is an afterglow."
For Ni Zhan's imitation, it is biased towards simplicity and clarity, the lines are more solid and affirmative, there is no ambiguous brush meaning and ink color, and there is no side pen horizontal point on the mountain stone that Ni Zhan often appears in landscape paintings, which is dry but does not lack lustrous atmosphere. The deeper reason for Hongren's inheritance of Ni Zhan's pen and ink and the pure and dry qi in the painting realm is rooted in the similar state of mind created by the same similar human life experience as Ni Zhan, in the cold and dry painting environment, the despair of the change of the human world, the cold state of the world, the old dynasty has gone to the new dynasty has been established into the silence of the painting realm, which is a good expression of Hongren's understanding in the Dharma Taoist Sect, and the realization of the landscape pen and ink is already a superior method of transcendent entry. In terms of mood expression, it has reached the superb and exquisite state of "no human fireworks" pursued by Ni Zhan. The pure pen and ink also better and more appropriately expressed Hirohito's pure, quiet and distant mentality.
Hongren's pen and ink characteristics are most vividly reflected in his works depicting Huangshan, the shape of the mountain stone is mostly outlined with fluffy and ethereal and affirmative lines, and then the solid line is rigidly checked with the pen, and the line is used in the pen gesture to show a wave of three folds, and the turn and frustration with the pen are extremely obvious, and the mountain stone is rarely rubbed, generally empty hook. In a large area of empty space on the rocks, the lines are thin and weak, but there is no sense of weakness, dry but no sense of dryness, and it becomes a plump state.
Although its pen and ink come from ni zhan place, it does not have the vague softness and confusion of Ni Zhan's pen and ink, and its pen is clear, rigid, elegant, and the pen is affirmative, full of rational and precise thinking. The stroke is loose, slow, light and stable, solid and hard, and it is cold and hard in the clear energy. It is difficult to see the beating pen line in the Hongren landscape, and there is no large area of heavy ink, which is pure and silent, but it is clear and cold, quiet and full of vitality.
《Songjian Qingyin Diagram》
03 Clear and lonely, not stained with red dust
Hongren's paintings focus on the relationship between black and white, the lines are concise, and have decorative meanings, while his paintings rarely use color, and the artistic conception in the paintings shows a kind of desolation of life, a depth of life.
On the basis of inheriting Ni Zhan's pen and ink skills, Hongren combines his personal feelings about the natural mountain and river forms and his mind and material to create a unique painting of "quiet", "cold", "lonely" and "lonely". He did not like to cover the paper with the depicted objects, but left most of the blank space. He is extremely good at using the blank space in the picture to set off the atmosphere of the picture.
《West Rock Pine Snow Map》
The upper part leaves most of the blank space, using the white part of the mountain to represent the snow covered scene, the nearby mountain as a whole is tilted to the left, and the mountain layers are superimposed with the white background, highlighting the mountain structure at the same time a sense of loneliness. In this painting, the pine trees are carefully depicted instead of the mountain, and on the bare mountain, the pine trees appear arrogant and cold.
"Yellow Sea Turquoise Map"
The center of gravity of the picture is on the left, the height of the mountain on the left is almost the same as the height of the paper, on the right are two smaller peaks, and a few pine trees on the left mountain that are either upward or right tilted to the right guide the viewer's line of sight, so that the picture will not be caused by the difference in the size of the object. The strong contrast between the thin mountain and the left and right mountains also highlights the deserted and cold artistic style.
《Tiandu Peak Map》
In the picture, the painting is rubbed with a hemp, the local use of lotus leaf wrinkles, the trees in the close-up are brushed and inked, the virtual reality is born, and the line outlines the heavy bone strength, showing a kind of pure and rigid atmosphere, creating a clear, cold, lonely and lonely "forgetting myself".
"West Garden Sitting Rain Map"
epilogue:
The turbulent years, turbulent life experiences, and similar life courses and artistic ideas to Ni Zhan all contributed to the formation of Hongren Xiao's cold and cold painting style. He uses simple and powerful geometric lines to shape the contours of the mountain stone, skillfully uses ink and blank space to create a lonely and cold picture atmosphere, strongly showing the magnificence of the depicted landscape, and at the same time, he also shows the ethereal and delicate nature of the picture through the pen and ink technique of less wrinkles and more hooks, making the seemingly simple picture actually meaningful.
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