Text/ Lv Shaoqing
(Professor, Doctoral Supervisor, Nanjing University of the Arts)
The main stylistic characteristics of the gradual rivers and rivers are reflected in the pen and ink expression of Yibi light ink, the rigorous and changeable chapter expression, and the expression of the qing, cold, lonely and lonely Gaoyi paintings, which shows his aesthetic pursuit of cool and high elegance, Cheng Huai Guan Dao and expressive spirit. The reason for this, in addition to the origin of the era of Qing Yi Mingzuo and the personal encounter of avoiding chaos and escaping Zen, the author believes that the main sources of Gradually Jiang's aesthetic thought of painting are three: one is the "ChengHuai Guan Dao" of serving Zong Bing; the other is the identification with Ni Zhan's aesthetic taste; and the third is the "ordinary heartbreak" of Yuan Zhonglang.
I. "Zonreichu"
What kind of expression object a painter chooses, what kind of expression method he chooses, what kind of aesthetic mood he creates, and what kind of aesthetic value orientation he has, is always intentionally or unintentionally related to his own experience, point of view, and philosophy of life. In a sense, art is the refraction of the times, but also the contemplation of life, and the externalization of aesthetics. Gradually Jiang escaped zen in real life, and he did not cooperate with the Qing Dynasty all his life, but placed his love on landscapes and paintings.
His view of the outside world is cold and dry, and his origin determines his aesthetic value orientation, which is crucial to the formation of his aesthetic view of painting. He has some similar calligraphy and painting friends, and their painting aesthetic ideas are quite similar, such as Dai Benxiao, Gong Xian, etc. Before the trip to Lushan In 1662, friends traveled to Wuliao, Shexian County. There are many people at the same table, Xu Chu in the preface to the poem: "The numberers are Zhu Meifang in the clouds, Dai Wuxuan in Liyang, Nanyun Kaishi in Hengyue, Yu yu and Wang Zishan Tu, Cheng Zi Er'an Ya." During the banquet, everyone "gave poetry to Haoxiang", and Dai Benxiao also gave a poem: "Lin Guangshan is the most quiet, and it is more pleasant to add a hut."
Read Mengzhuang's "Theory of Qi Things" and live in a room to get a heavenly tour. We borrowed the mouth of Dai Benxiao to express the basic aesthetic ideas of Gradualjiang, which is the aesthetic view of painting that was deeply influenced by Zong Bing's "ChengHuai Guan Dao". After returning from Wuyi, He has been living in Wuming Temple under Phi Yun Peak, and his living room is called "Chengguan Xuan". Apparently, he was subordinate to Emperor Zongbing of the Southern Dynasty Liu Song Dynasty. Zong Bing (375–442), a native of Neiyang, Nanyang (present-day South of Zhenping County, Henan). His grandfather and father were both officials, but he himself had no intention of being a eunuch, and the imperial court repeatedly recruited him. He was both a hermit and a devout Buddhist, believing in the Pure Land Sect, and went to Lushan in 402 AD to "seek the meaning of the text", and "good landscape, love to travel", "every time you travel to the landscape, you forget to return". After the old and the sick came, "sighed: 'The old and the sick are coming, and the famous mountains are afraid to see everywhere, but when the Cheng Huai guan Dao, lie down and swim in. 'Whoever wanders is in the room, and the man knows: 'Play the piano and exercise it, so that all the mountains will sound.' ’”
He is the author of the "Treatise on the Ming Buddha" to interpret the will of Buddhism, and the author of the "Preface to Painting Landscapes" to expound the theory of landscape painting, in which the viewpoint of "Chenghuai Guan Dao" equates landscape painting with the way of the saints (the "way of the saints" here is actually the way of Lao Zhuang advocated by Wei and Jin metaphysics), and uses landscape painting as a carrier of a tangible "Tao", becoming a medium for viewing the Tao and taste, emphasizing the function and value of landscape painting, and has a far-reaching impact. Gradually, Jiang has a deep understanding of Zong Bing's "Cheng Huai Guan Dao" and also yearns for Zong Bing's "Pure Land Dharma Gate". Until his later years, he was still "hanging the relics of the Emperor and Lei" during his trip to Kuang Lu. He thought that qi was broader than Zong Bing, and his students and friends also regarded Zong and Lei as their eyes. He himself has a poetry cloud: "Poetry in the White Lotus Society, no one is peaceful all the time." Shu Xu Gao Feng Moss, sitting on his knees with Jun. [1] 34 His student Zheng Min Shiyun: "Zong Lei's sexual fetish is difficult to get rid of, and the peak of the absolute valley is a staff." [1]168 Tang Yansheng's "Small Portrait of The GradualLy JiangShi" Yun: "... The Yanmen monks are idle, and the tiger's head pen can be neat. Look at the vulgar worries, and then show the emotional screen. Long Xiang is old and hughed, and the famous mountain painting Zong Bing. ......”
Xu Chushiyun: "Zong Lei field scattered in the east of the river, the old eye He Kan sent Xuehong." The beggar painting beggar has not retreated, and there is a light in the plum blossom niche. [1]160 In "Sending gradual teachers back to Tawen", Xu Chuyun: "Shifu ZongLeiqijiu, it is difficult to donate my generation's love; Zhang Fan is true, and he does not feel that naturally drooling." [1]194 In the "Collected Pictures of the ShiShuzhou of the Gradual River", Xu Chu also said: "... Qing discerns the wonders, and appreciates the salty unforgived. Fewer languages can be referenced, and Jingyuan is wonderful. ......” [1] 140 It is also zongbing's view to appreciate the landscape paintings of the gradual river.
Qing Gradual river Landscape, plum bamboo picture fan book one of the ink and paper
16.5cm×50cm from the collection of Guangdong Provincial Museum
Like dai benxiao, Gong Xian, Shi Tao and some other painters of the same era, Wanjiang did not attach importance to the "law" of painting the "six laws". His concept of "enlightenment" is to experience nature, to enlighten and to practice the way of the saints. The view of "teaching nature" has always run through his painting thoughts, and he also practiced the natural method of teaching. The journeys of Wuyi, Baiyue, and Huangshan in the Gradual River played an extremely important role in perfecting his painting ideas and forming his painting style. Just as the so-called "walking thousands of miles, reading thousands of books", the chest contains thousands of hills and valleys, and the help of mountains and rivers.
He was not opposed to tradition, he once said that "Ni Fan pen ink to the family treasure, years of burning incense to provide for the teacher", "twenty loads of ink idiots, there is no way to pursue the North Garden", "Tang and Song left to see the pen, self-injury smear is also followed", and so on [1]35. Various materials also have records of his study of the Yuan people, the Song people and even the Five Dynasties, Jin and Tang dynasties, and it is easy to see this from his paintings. However, he scorned and dismissed the world style of blindly taking the ancient as the highest pursuit. He said: "Legend has it that Yun Linzi is not completely shallow. In this way, we will understand the heart of the text, and seek a good in simplicity and complexity. [1] 32 If the Shigu people obviously paid more attention to the ShiHuahua than the Shihuahua, he declared: "Dare to say that the heavens and the earth are my teachers, and the ten thousand cliffs are the only scepters." Dream of a good home in Fuchun, and there is no section into the fence. ”
He said: "Dong Beiyuan took the True Landscape of Jiangnan as the manuscript, Huang Zijiu hid YuShan and wrote YuShan, Guo Heyang to take the True Cloud to shock the waves to make the mountain, and gu know that the large piece has its own true book, if the calligrapher's foot leaks, do you not believe it? This complements Shi Tao's "searching for the Qifeng draft", emphasizing that man and nature are one, viewing the "Tao" as the purpose of painting, "creation" as the fundamental, painting with the "Tao" as the home, and not with the "Fa" as the basis, and if you attain the Tao, you can forget the Fa. But for the "Six Laws", Gradual River is not blindly abandoned. In his view, the "Fa" is only a means of serving the "Tao," and what is important is "Cheng Huai." Purify your own heart, then "the body is coiled, the eyes are silky, the shape is written, and the color is colored" has the value and meaning of "taste".
He believed that it was necessary to observe the Tao, the Tao, and the taste through the concrete shape of the landscape. Therefore, Zheng Minyun's "three wishes have been rewarded and not hated, Wuyi Yellow Sea and Kuang Lu". It should be said that from the very beginning, Wanjiang's thoughts were not as contradictory and painful as Dai Benxiao's and Gong Xian's thoughts, and they were also different from Ni Zhan's emptiness, loneliness, and loneliness. He had long ago abandoned thousands of troubles and was far away from the red dust of right and wrong, and emotionally he and the Qing Dynasty swore no difference and would never cooperate. But in real life, he has "taken a scoop with him, and stopped worrying about it." When the moon rises, Yu Yanxin can prove it" [1]3. He longed for Lao Zhuang's "lightness" and "inaction", longed for "opening up the valley Luofu in a single way, and only lifting the spring to fill the bowl, swallowing several pieces of white stones, and doing nothing" [1]42.
That kind of spiritual home is especially important to him, and he needs to "clear his heart" and "taste". Therefore, as Dai Benxiao said: "Zong Shaowen talks about painting clouds, and the mountains and rivers are flattering in shape." Nai zhi is subtle in painting and has his own real rewards; it is not comparable to his play. The difference between the immortals, the sight and the heart, the benevolence and wisdom are happy, the movement is not far away, the Gou is not clear, and the black foot is said here. (Dai Benxiao's "Landscape Axis", Wang Jiqian, The United States)
Qing Gradually Jiang Xiaojiang Wind Picture Scroll Color on Paper 28.5cm× 243.2cm
Eighteenth year of Qing Shunzhi (1661) Collection of anhui museum
The ancients of the Gradual River, especially the Shifa Yunlin, had different points of view from the Ming and Qing people, and even compared with the Xin'an Families, they were actually very different. When he took the Fa Yunlin, he did not blindly focus on pen and ink, chapter method, etc., but combined with the master's method of creation, took its similarities in mental state, and sought a cultural identity in the taste of natural landscapes. In other words, to understand from the ancients what they learned from nature, to understand how they tasted nature. It can be seen that the ancients of the gradual river master did not simply simulate pen and ink, but mastered the method of tasting nature and creating the teacher's method from it. The emphasis on the unity of creation and self in the creation of teachers complements his ideas of "chenghuai" and "guantao", which fully shows the ideological content of Wanjiang's emphasis on "feelings", re-expression of sexual spirits, and opposition to blind imitation of the ancient. This is also determined by his aesthetic idea of "Cheng Huai Guan Dao".
Xiaojiang Wind Scroll of Stone Tao
II. "I Si Yuan"
Gradually, as we all know. Almost all of the paintings of The Gradual River's teachers and friends and later generations are also cloudy and even focused on this point. For example, the gradual river friend, Huangshan Ciguang Temple monk Hongmei in his "Huangshan Zhi" in the Middle Cloud Qi" "all ancient and modern masters know their methods, late especially love Yunlin pen meaning." Zhou Lianggong's "Reading Picture Book", which was almost the same era as Wanjiang, also yun qi", "likes to imitate the cloud forest, so it is perfect." Jiangnan people have whether they have fixed elegance and customs, such as the heavy clouds of the past, and the salty means that they have gradually become the clouds of the river." Later, Wu Zhantai, a native of The Gradual River, wrote in the "Map of Huangshan Mountain in The Title of Xuezhuang": "The plum blossom old Man gradually painted the god of Ni Fan, and the old man of Songyuan urgently called it." Zhejiang Qian Shaosheng gradually crossed the river "Jiangcun Meiliu Chart Axis" cloud: "Gradually master landscape, private Shu yun forest, Xiao estranged and distant in his own Wei Jun's deep and thick atmosphere." ” [1]7
Tang Yansheng, a close friend of wanjiang, believes that he learned Ni Huang and surpassed Ni Huang, as in his "Album of Giant Relics of Landscape and Water" of The Gradual River: "The gradual river travels through the sky, and Huang Ni is also a qiya." [1] 93 Yang Da's "Records of Calligraphy and Paintings Seen by Chi Hongxuan" said: "The people on the heart spring have long scrolls of ink landscapes and rivers, and the pen is a collection of yuan and ji families, not only those who study the cloud forest." "Later generations of painters are even more non-committal, and whenever they talk about gradual rivers, they all call their teachers Ni Zhan, or they are known as specialized in yunlin, but they are only about their brush and ink, paintings or temperament near the cloud forest, or when the cloud forest, or sheng yunlin, or inferior to the cloud forest.
For example, some people think: "There are several kinds of Yumi volumes, but the pen and ink are beautiful, and there is nothing surprising, I think it is a disciple forgery, not an authentic handwriting." Otherwise, the group will push it with the cloud forest, and it will inevitably be abrupt and cloudy. [2] We say that these kinds of comments are more or less the same, but they cannot be said to be true. In fact, gradually learning Ni, the technical master inherits on the one hand, and more importantly, the influence of painting aesthetic ideas.
Xiaojiang Wind scrolled Xu Chuba
Gradually Jiang himself said on many occasions that he would call Ni Zhan and highly respected Ni Zhan. There are many poems in the "Paintings", "Wai Wai Poems" and inscriptions, such as "The old dry has autumn, and the flat posts are continuous." In addition to reading, I think of Yuan zhan "Ni Fan has a strange feeling in his middle age, and his paintings begin to be completed after scattering. I have no home to study, and it is inevitable that I will lose my life" "East, west, south, north and south, I am old, and the mountains are tied to the knot." Under-stretching suddenly saw the dry forest moving, and remembered ni's old day map" "Drifting all year round without a lu, the creek and mountains are dashing and the trees are sparse." At this time, if you encounter a cloud forest, you will have a mao pavilion to read a different book", and so on. Huang Binhong wrote in "The High Line of the Monk Gradually River" that gradually Jiang purchased Ni paintings for several years, but he could not get the real handwriting, and since Wuyi returned to Huangshan, gradually jiang and Fengxi Wu clan befriended, and were able to obtain the true deeds of Ni Zhan, "So he pretended to be ill and did not return, and the dumen waller read the moon three times, and suddenly he had it, and when he wrote it, he felt super easy", "Because of the orientation to destroy it" [1]99.
In xu Chu's "Ten Confessions" for him, it is also clearly written that there is a Yunlin book scroll in the gradual river, "Youting Hanshu, like a predecessor, plucking the vulgar and clear words, and the light rhymes with paper." It is a play for the teacher to lead the way" [1]96. It can be seen that for Ni Zhan's calligraphy and paintings, gradually jiang can be described as day and night speculation. In his poem inscriptions, ni zhan is also concerned with the ancients in the painting world. He has repeatedly described himself as taking the Fa Ni Zhan, such as in his self-titled "The Axis of the Year Cold Diagram": "An alliance with the Twenty Year White Sandpiper of the Eclipse Nunnery." ...... Yu Even takes Qing as his teacher, and shu saves the meaning of the cold years. [1] 192 He even used Ni Zhan as a self-condition: "A niche is different from a boat, and there is no one frozen in silence." The window has an old plum as a companion, and the mountain leaves a snowy night to read. [1] 90 He himself even said: "The trees are cold and the mountains are far away, and I know that it is not appropriate." He wrote and inked to the family treasure, and burned incense for the teacher at the age. ” [1]38
Moreover, judging from his paintings, some aspects do gain more from Ni Zhan, especially his imitations of Ni Zhan's works. For example, the "Landscape Map" written in the thirteenth year of Shunzhi (1656) by the Palace Museum in Beijing, the "Youting Xiumu Map" composed in the summer of the eighteenth year of Shunzhi (1661), and the "Landscape Map for The Danxian Residents" composed in September of the eighteenth year of Shunzhi, and so on. Not only is it similar to Ni Zhan in terms of chapters and methods, but it also has similarities with Ni Zhan in terms of painting. The latter paragraph signed: "Xin Ugly September, Xiong Right belongs to the Danxian resident." Hirohito. After the "Youting XiumuTu", there is Luo Gong Period Paiyun: "The enlightened master Jiu Mu gradually wrote in the pen, which belonged to Daiso, so he gave it to the sender." And there is a seven-piece poem with a Jiang annotation inscription: "My master wrote Ni Zhiyi, ancient wood lonely pavilion water stone you." The title of the Youbao Ephemeral Flower Is in, Zen Gate Treasure Secret Anti-Prince. ” [1]38
It can be seen that although these pen and ink techniques and painting intentions of Gradualjiang are very much in their own style, they still have some shadows of Ni Zhan. Professor Chen Chuanxi believes that "everyone has their own strong mental state, special character, clear concepts and propositions. Therefore, although imitating the works of others is only to borrow their forms and get a little inspiration from them, when they write, they still reveal their own mental state, not only the traces are not similar, but god is even less similar. Therefore, although Hongren learned Ni and his paintings did not resemble Ni, Ni paintings did enlighten him and laid the foundation for his techniques. [3] This is indeed fang's word. Therefore, even in the works of Gradual Jiang, which shows that Ni imitates Ni, his pen and ink are completely different from Ni Zhan.
Xiaojiang Feng scrolled Wu Xiba and Cheng Shouba
Wanjiang himself also said: "Legend of Yunlinzi, I am afraid that it is not completely shallow." In this way, we will understand the heart of the text, and seek a good in simplicity and complexity. [1]76 For Ni Zhan, he had a renunciated inheritance. Ni Zhan's penmanship is uncertain, loose and soft, dry and steep. Its unique "folding belt" method is not only a pen for the center, but also a side pen that is wiped horizontally, and the hook belt is wiped and dyed, which slightly shows the feeling of dragging mud and water. The trees are mostly in the form of cold forests, and the pen is also soft and pine. Its techniques are mostly jing, guan, Dong, ju, Li, etc., and they come from the scenery of Taihu Lake, and the artistic conception of the picture is cold and lonely. This is Ni Zhan's understanding of creation.
When taking the method, gradually jiang uses lines with its own unique style, affirmation and clarity, strength and lubrication, which is partial to simplicity and rigidity, more hooks and less scratching, concise, clear, crisp, and moist, and there is no sense of dragging mud and water. This is Graduale's nostalgia for nature. His writing of Huangshan is even more based on the merits of creation and the help of Huangshan's temperament, which is very different from Ni painting. However, the paintings of the two are a kind of ethereal and lonely, simple and compelling, and the "selfless realm" of material and self-forgetfulness, which is similar in spirit. However, due to the difference in the spirit of the times, ideological mentality, personal habits, social travel and many other factors, the "cold" and "quiet" of gradual rivers are more than Ni Zhan, or that Ni is biased towards "quiet" and gradually more "cold", which is a unique spiritual expression that is different from Ni Zhan.
We say that although "neither the traces nor the similarities, nor the gods are similar," their experience of life in "nature-mind-landscape painting-Tao" coincides with each other, and their aesthetic view of the nature of mountains and rivers is highly consistent with the consciousness of life, the way of nature, and the understanding of mountains and rivers and themselves "encountered and traced" under this aesthetic picture. They are similar to higher realms, and in painting there are different expressions of the mind. Gradually, Ni is not preoccupied with the so-called technical inheritance of brushwork and ink rhyme, but pursues spiritual expression on top of techniques. This is also the cleverness of Ni Zhan, who gradually took the fa. Therefore, Tang Yanshengyun: "The gradual river travels through the sky, and Huang Ni is also a qiya." ” [1]32
III. "Heart Compromise Lang"
In Wang Shiqing and Wang Cong's Compilation of "Gradually River Data Collection", one of the rulers is generally not valued by people, that is, the "Book of The Book of Wang Bu'an", which has a sentence that gradually jiang said: "... Pingsheng is eclectic, blaming his Huangshan for not remembering. Combined with Wanjiang's thoughts, "Ordinary Life Heart Compromise Lang" actually reflects the important source of expressive spirituality in his painting aesthetic thought.
Qing Gradual River Shuquan Wash and Research Picture Scroll Color on Paper 19.7cm×69.7cm
Qing Kangxi II (1663) Shanghai Museum Collection
Yuan Hongdao (1568-1610), also known as Zhonglang (中郎), was a native of Huguang Public Security (now part of Hubei). Wan Lijinshi, Gongshi Wen, with innovative ideas, advocated "poverty and new radical change" in literary and artistic thought, and together with his brothers Yuan Zongdao and Yuan Zhongdao, he carried the banner of "sexual spirit" and opposed the ancient style on the literary circle of the late Ming Dynasty. The "Three Yuans" believe that the true spirit comes from the "nature" of the straight expression of the chest. Of course, in the "Three Yuans", there are actually some differences in the interpretation of sexual spirits. Interestingly, from the tracks, Wanjiang should be closer to Yuan Zongdao, but in fact he is more "heartbroken". Because Yuan Zongdao is sincere and strict with himself, and is similar to Ni Zhan in terms of vulgarity and cleanliness, the "truth" of sexual spirit is more manifested in him as "sincerity". Yuan Zongdao named his study "Bai Su Zhai", showing his admiration for Bai Juyi and Su Dongpo. The natural interest in his mind is "easy" and "light".
He also particularly admired Tao Yuanming, which coincided with gradual rivers in a sense. Yuan Hongdao, on the other hand, is "bold and courageous and has a refreshing temperament", and his natural interest is to be free-spirited, like a heavenly opportunity, absorbing more of the vertical and horizontal side of Zen Buddhism, and absorbing Li Zhen's "childlike heart theory", and even has the tendency to one-sidedly emphasize the sexual spirit and abandon the "Law" in disregard, believing that "the person who originates from the sexual spirit is a true poem", highlighting the core connotation of the "fun" and "pure heart" of the sexual spirit. In the "Preface to the Bamboo Forest", Yuan Hongdao said: "In the past, I have studied with Bo Xiu Dong Xuanzai... Therefore, the good painter does not teach the people, the good scholar does not teach the Tao, and the good poet teacher is all the same, not the ancestors.
Fa Li Tang, how can it be said that its character and words are not good! Fa Qi is not for Han, not for Wei, not for the heart of the Six Dynasties, but for the true Fa. [4] It should be said that the influence of this view of "law is not law to think of the law" on the aesthetic idea of gradually increasingly not emphasizing the "six laws" and advocating the "ChengHuai Guan Dao" painting aesthetics is also obvious.
Qing Gradual River Dead wood bamboo stone figure axis Ink and ink on paper 40.8cm×27.9cm
Seventeenth year of Qing Shunzhi (1660) Collection of Zhejiang Provincial Museum
Among the "Three Yuans", Yuan Hongdao's talent is the most outstanding, and he is also the most focused on sweeping away the old ideas, and the exposition of the "sexual spirit theory" is also the most incisive and thorough. He believes that "sexual spirit" is an indispensable factor in all excellent literary and artistic works, and also regards "sexual spirit" as the optimal condition for literary creation, criticism and appreciation. According to his point of view, the so-called "sexual spirit" "from the writer's point of view, mainly to write the true feelings; from the point of view of artistic technique, it is mainly against mannerism; from the aesthetic characteristics, it is mainly to obtain the interest of nature."
In general, the transcendence and liberation of individuality is the guarantee of sexual spirituality" [5]. He believes that only by "getting rid of the dust" and "being unrestrained" can we count as having a "true disposition". "His attacks on the dark forces of the country's society and the people of the countryside are to the point, but he is particularly pushy of his confidants and friends, even if there are only a few words in the ruler, the words flow from the heart." [5] This is in line with gradually river, and gradually river's poetry is also made people feel this way, he also pursues "nature", "innocence", and "reflective spirit". For example, "The mountain stream is new and wants to float in the village, and the boat only has ancient tree roots." Buy fish and shrimp to invite guests to drink, first leave the bright moon in the chai gate" [1]99, or "suck into a dynasty, no more know the beginning and end." There is a brown bridge outside the door, idle to see the flowing water" [1]29, and then "The twilight of Weichun, the flowers are intermittent." Cui Wei zhongren, eyebrows are green" [1]29 et al., the language is naïve and natural, the meaning is not obscure, straight lyrical spirit, pointing directly to the human heart.
Gradually, It seems that The "Ordinary Heart Compromise Lang" is not just talking. And Yuan Zhonglang also entered the Zen From Confucianism, and then returned to the Pure Land Sect, which well integrated Zen Buddhism and Pure Land Buddhism. His conversion to pure land buddhism in his later years added some concrete spiritual sustenance to his Zen thoughts. This is quite similar to the process of ideological transmutation of the gradual river, which shows that the "heart compromise lang" of the gradual river is not a source of water and a wood without a root.
Although Yuan Zhonglang's "Theory of Sexual Spirit" is a treatise on poetry and does not refer specifically to painting, it actually has extensive guiding significance for later culture and art. His influence on gradual rivers should also be holistic and comprehensive, and undoubtedly have a very important impact on the construction of gradual rivers' own aesthetic ideological system. "Poetry and painting are the same", what kind of poetic aesthetic ideas there are, what kind of painting aesthetic ideas should be. Gradually, Jiang's painting practice also confirms this.
His contemplation of the scenery of mountains and rivers and his taste of the way of nature are all permeated with Yuan Zhonglang's influence on the interpretation of "sexual spirit". (Of course, Wanjiang's pursuit of "sexual spirit" also has a lot to do with Ni Zhan's aesthetic thought, and Ni Zhan's poetic paintings also advocate expressive sexual spirit.) His landscape paintings are consistent with his poetic style, reflecting the "natural interest" of "flowing from the heart" like "triggered by heavenly chance". Contains "truth" means "sincerity", "quality and fun spirit". At this point, Shi Tao's understanding of him is the clearest and clearest, in the "Xiaojiang Wind Picture Scroll" of the Bao xiangjiang, Shi Taoyun: "... The longest public tour of Huangshan, so the true temperament of Huangshan is also obtained. That is, one wood and one stone, all of which are the true colors of Huangshan Mountain, and the wind and bones live in a depressed way. [1] 79 A master is a master, a master. The "true color" of this "wind and bone" mentioned by Shi Tao is the best interpretation of "sexual spirit" by GradualJiang.
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This article is the phased result of the 2019 National Social Science Foundation Art General Project "Literati, Monks and the Scenery of Huangshan Mountain: Popular Language and Personal Experience in Gradually Landscape Paintings" (project number: 19BF075). The pictures in this article are selected from the "Home Between the Huangshan Mountains and Baiyue - The Art of Calligraphy and Painting in the Gradual River" published by Anhui Fine Arts Publishing House in December 2020.
Source: World of Calligraphy and Painting magazine
Original title: On the main source of the aesthetic thought of gradual river painting