Yuan Dynasty Ma Wan's "Twilight Cloud Poetic Intentions"
Twilight cloud poetically knows Ma Wan
——Appreciation of Ma Wan's "Poetic Intentions of Twilight Clouds" in the Yuan Dynasty
Wang Lushan | wen
China's traditional painting has a long history, it is rooted in the profound cultural soil of the Chinese nation, through the ages, after successive generations of continuous innovation and mutation and development, the formation of a complete art system that integrates the unique cultural heritage, artistic literacy, aesthetic thinking, philosophical concepts, aesthetic consciousness and way of thinking of the entire Chinese nation, he is the crystallization of our excellent Chinese national wisdom, but also an important part of Chinese culture, with a unique Chinese courage and Chinese style. And in the process of its thousands of years of historical development, it has left countless masterpieces, and every famous painting that has been handed down to this day is the greatest, most important and most intelligent precious wealth of our Chinese nation.
In fact, for the history of ancient Chinese landscape painting, Ma Huan is relatively unfamiliar, starting from the Sui Dynasty's Zhan Ziqian, in the history of landscape painting development, such as Li Sixun, Li Zhaodao, Jing Hao, Guan Tong, Dong Yuan, Juran, Wang Wei, Guo Xi, Li Tang, Fan Zhongzhong, Ma Yuan, Xia Gui, Qian Xuan, Zhao Mengfu, Huang Gongwang, Cao Zhibai, Wu Zhen, Ni Yunlin, Wang Meng, Ma Wan, Wang Lu, Dai Jin, Shen Zhou, Zhou Chen, Tang Bohu, Wen Zhengming, Qiu Ying, Xie Shichen, Dong Qichang, Zhang Ruitu, Wang Jianzhang, Lan Ying, Chen Hongshou, Wang Shimin, Wang Jian, Wang Fei , Wang Yuanqi, Hongren, Jia Yan, Cha Shibiao, Gong Xian, Gao Cen, Shi Tao and other well-known masters of landscape painting in previous generations, but Ma Wan in the late Yuan and early Ming Dynasties was not as well known as other painters, which has a lot to do with the few generations of his works.
According to the history of landscape painting, Ma Wan's date of birth is unknown, and he died around 1378 during the reign of Ming Hongwu. ZiWen Bi (字文璧), courtesy name Lu Dusheng (鲁钝生), was a native of Qinhuai (present-day Nanjing, Jiangsu), who lived in Songjiang (present-day Luxiang, Jinshan, Shanghai) for a long time. There are Zhi Festival, Gong Shi Shan Painting, Poetry Gong Ancient Song Line, Painting Long Landscape, Official to Fuzhou County Shou. Good at painting landscape figures, Gongshi Nengshu, poetry calligraphy and painting time number "three absolute", the end of the Yuan Dynasty reclusive, Hongwu three years (1370) out of Fuzhou. In his early years, he studied "Spring and Autumn" from Yang Weizhen, and his poetry was also influenced by it, and Yang Weizhen greatly valued his paintings, so he was very famous in the painting world at the end of the Yuan and early Qing dynasties. In the eighth year of the Yuan Dynasty (1348), Gu Ying's Yushan Caotang in Kunshan Jiexi became one of the concentrated places for literati in Jiangsu and Zhejiang to feast and sing, and Ma Wan, Yang Weizhen, Zhang Yu, Ni Zhan, Tan Shao and others often visited the appointment. In the two poetry collections "Yushan Caotang Poems" and "West Lake Bamboo Branches" compiled and printed that year, ma Wan's poems were written. The "West Lake Bamboo Branch Words" said that he "has a few aspirations, poetry and ancient songs, and special paintings, but they are all the result of his heavenly posture." In the ninth year of Zhengzheng (1349), Yang Weizhen went to the Huangxi Yishu (璜溪義塾) run by Lü Liangzuo in Songjiang Province (in present-day Lüxiang, Jinshan, Shanghai) to teach "Spring and Autumn", and Ma Huan went to study. Usually, he traveled all over the local landscape with Bei Qiong, sketched and painted, and inscribed poems, and the landscape he painted was Dong Yuan and Mi Fu, and also learned From Huang Gongwang. In the tenth year of Zhengzheng (1350), he befriended Huang Gongwang and was more deeply affected. In the twenty-fifth year of Zhengzheng (1365), he befriended Wang Meng. Wang Meng composed "Ancient Picture of Changlin Dialect", painting Yang Weizhen and himself, for which Ma Huan praised:
The grass and trees are separated from the falling light,
Qing Yan lost and two won idle.
No one will,
Full of ears and clear springs full of mountains.
In the following year (1366), he composed the volume of "Spring Mountain Qingji Map", plump and beautiful, with dong yuan and Huang Gongwang's penmanship (the Palace Museum in Taiwan). In addition, there are still works such as "Yinghai Map", "Autumn Mountain Smoke Tree Map", "New Willow", "Yunguan Xiaodu Map" and so on. Pei Qiong once inscribed a poem: "Long remembrance of Qingxi Ma Wenbi, can poetry can paint the most popular." The wine is full of fun, and the Bajiang Wanliqiu is cut. He also said that his paintings were "bought by the Three Wu people at a heavy price." In the third year of Ming Hongwu (1370), Ma Huan became the prefect of Fuzhou, Jiangxi. Eight years later, Pei Qiong saw his recent work "Yunlin Hermitage" in Fuzhou, and inscribed it, saying that it "regarded the Nangong as not good or bad", and said that his poems on the painting "have the ambition to return to old age". He is the author of "The Garden Collection".
Wang Lushan's work "One Hundred Years of Xiling" was created in 2019
This is one of the few records and introductions to Ma Wan in the history of painting, and other more detailed information is really difficult to check. However, "The Poetic Intention of Twilight Clouds" is one of the few representative works of Ma Wan that has been passed down to later generations, and is now in the Shanghai Museum. The painting is about 96.5 cm high and 56.3 cm wide, and the material of the work is silk. The painting is light and bright, the artistic conception is vast and far-reaching, full of poetry, mainly depicting a foggy scene after the sunset rain in the depths of the mountains. The works are made from near and far mountains, mountains and stones, grasses or looming or present, deep shades of trees on Pinggang Pituo, pavilions near the water, board bridges across the creek, simple and elegant, the artistic conception is long, the mountains are light and moving, and the huts and cottages are hidden in them. The rocky mountain body of the hill slope is outlined with a solemn and soft layer of hemp, showing a thick and majestic posture, full of visual tension and artistic expression. The whole painting is full of mountains and rivers, deep valleys and thick forests, showing the arrogance of the mountain' broad and broad connotation, and is full of deep and quiet literati atmosphere, and the movement of the landscape is full of the realm of the painter's alpine elevation. In the distance, the peaks stand tall, undulating, and meet the sky. The valleys are lush and cloudy, the cottages are looming, and the business is abundant. The valley bottom stream winds and loops down the mountain, and the two banks are connected by a banqiao, revealing some news that it is only in this mountain. The jagged trees in the middle and close-up scenes echo and are full of vitality, which shows the leisure and leisure of the sun and moon in the mountains, as if to bring people into the realm of unity with heaven and earth. On the overall tone of the ink painting, the painting is slightly dyed with a faint green, and the thin ochre is attached, so that the picture presents a rich twilight atmosphere, and the work has a more mysterious and elegant aesthetic quality in poetic expression.
The inscription of Ma Wan's "Poetic Intention of Twilight Cloud" is concise and clear, and the amount of information is not very much, but we can determine that the specific time of creation of this work is 1349 AD, which is exactly what Ma Huan wrote in his prime. At the top right of the picture there is a self-title of Lishu: Twilight Cloud Poetry, To the True Self Scandal July Looking at the Sun Ma Wanwen Bi Works. Lower plutonium: Lu blunt raw white text square type seal, Ma Wan Wen Bi seal Zhu Wen square type seal. He was ugly in the ninth year of the reign, in 1349 AD. In the upper left of the picture is a poem inscribed by the Four Ming monk Rufu:
White clouds over the rain,
Danya moss as a dress.
Stepping through the tree,
Jingyan Pavilion light.
Chicken Dog Maoz Jing,
Jiangshan personnel is not.
What year to the West Ridge,
Lie high and cover Qinghui.
Siming monk Fu Wuyuan.
However, who is the Four Ming Monk Fu Wuyuan of the inscription? There is no specific and detailed record in the historical data, but this five-word poem is quite picturesque, and there is a sense of seclusion in the mountains and forests of the literati doctor, which adds a lot of interest and research value to the work, and also has the popularity and wonder of Wang Wei's "painting in poetry, poetry in painting". Since ancient times, seclusion and lying in seclusion has been a way of dealing with the world that is highly respected by literati and inkers, which gradually formed a custom during the Wei and Jin Dynasties, and later gradually developed into a "hermit culture" and became a relatively common social phenomenon. This way of living in the world by literati doctors also had a more direct and far-reaching impact on the creation methods of ancient landscape painters, especially in the song and early Yuan Dynasty, the landscape painters who were politically poetic and unwilling to cooperate with the imperial family at that time generally lived and created art in the way of seclusion and sleepy travel, and they mostly used their familiar mountain and river objects as the prototype for creation, with superb pen and ink skills and unique life perceptions for hermit creation, that is, for the mountain and river objects to write the appearance of the gods. At the same time, it also tempered the spiritual temperament and hermit feelings of ancient Chinese traditional landscape painting. Ma Huan landscape far away from Dong Yuan, Ju Ran, Wang Meng, Mi Fu, close to Huang Gongwang. This "Poetic Intention of Twilight Clouds" is clear in ink, broad in the distance, and the artistic conception is deep, and the creation of the picture is full of hermit wind. In terms of painting method, there are many charms of Dong Yuan's "Creek Bank Map" and the magic method of Minang Palace, but more is to learn Huang Gongwang. I remember that Li Cheng has such a passage in "Tips for Landscape and Water" about the creation of landscape painting: Whoever paints landscapes, first establish the position of guest and lord; the second is to determine the shape of far and near. Then wear chiseled scenery and arranged high and low. The pen is too heavy, the heavy is cloudy and unclear; not too light, the light is dry and not moist. The transition of muddle is not connected, and the complicated rules are lost. This paragraph of landscape painting tips simple and clear interpretation and tells the important relationship in the creation of landscape painting, I often use this passage to taste the famous paintings of the past, it seems that good works do not lose this relationship discussion, of course, Ma Wan's "Twilight Cloud Poetic Intention" can also be completely interpreted by Li Chengzhi's landscape painting skills.
The layout of the entire picture of Ma Wan's "Poetic Intention of Twilight Clouds" is dominated by high peaks and huge granites, which has a majestic and magnificent momentum. At the same time, the babbling and jumping springs, lush grass and trees and Banqiao huts are arranged, and the clouds and mist are baked among the peaks, making the realm appear both reckless and ethereal. This role of Ma Huan transports a long-distance, far-reaching picture perspective performance, cleverly combining mountains, streams, grass and trees, smoke clouds, houses, pavilions and bridges into one, so that the picture qi pulse circulation, radiant. The wide-frame creation can be divided into three segments according to the picture level, namely close-up, medium-view and long-range. The close-up of the work is a rolling mound, uneven, large and small, and extended to the middle scene, making the picture full of rhythm. The hills and hills are overgrown with trees, dense foliage, lush and lush, and a turquoise mountain village scenery is the season of the mid-summer season. The stream on the right side of the foot of the mountain converges into a pool of water, and the stream seems to flow, forming a slight ripple, making the picture appear more flexible and exquisite. The four-corner pavilion on the bank of the creek is ethereal and chic, simple pen and ink lines outline the architectural structure with a three-dimensional sense, and the top of the simple and elegant ochre-colored pavilion just echoes with the village house in the distance of the picture, just right.
Wang Lushan's work "Dream is Still a Family Mountain" was created in 2019
The scene in the work begins at the flat slope at the foot of the mountain, with several houses and houses, three or three and two flat between the mountain passes, hidden in the vast twilight, in the mountains and under the bushes, half exposed and half appearing, hazy, like a fairyland. In the house, there seems to be a hermit in the mountains and forests who write poems and paintings, play the piano and cook tea, drink and arrange flowers, which makes people think and draw continuously. In the center of the picture, there are two tall trees, staggered back and forth, one thick and one light, covering the distant mountains, and echoing with the trees in the close-up view, which clearly defines the picture beauty of the picture from near and far, changing and unifying. There is an elevated bridge between the two shores on the right side of the middle scene, which is outlined with its simple and direct lines, so that the pictorial meaning of the work is turned to the outside of the painting, which attracts people's infinite reverie. The stream under the bridge babbles and flows, and the mountain stones and rubble of different sizes stand in the stream, exposing the water surface, before and after, and the color is unified from top to bottom, which is very formal and the integrity of the picture. On the right side of the bridge, there is a group of trees with changes in shades and shades, and on the left there is a dead wood stretching towards the left, and the dead branches are vigorous and powerful, extending positively upwards, giving the picture a kind of hugging style with an upward meaning of the spiritual level, and also echoing with the trees on the left bank and in the close-up, making the picture more harmonious and unified, and the atmosphere is vivid. The wonderful middle scene of this work can be explained by the Ming Dynasty Tang Yin's "Six Ru Lay Scholar's Paintings". When painting, the charm is vivid and vivid, and the spirit is born from the use of the pen. Intended to be written first, the pen is full of intentions, although it cannot be appreciated by the husband, and the clumsiness is also slightly visible. Or there are noble saints, sending fun to the feelings, when asking for all the ink, it is interesting. Painting a tree and a stone, when the ink is skimmed off, there are scholars, there are many, and they will enter the flow of painters. The creation of Ma Wan's work can be said to be vivid and vibrant, with the feelings of a literati doctor and the wild atmosphere of the mountains of grass and reckless cloth.
In the center of the picture, the peaks are stacked on top of each other, covering each other, the mountains and rocks are connected, the layers are undulating, the peaks of the mountains rush into the clouds, the clouds are filled with mist, the fog is heavy, and the time is hidden and appears, as if it is connected with the heavens and waters. The ink color of the main peak of the long view is as heavy as the ink color of the previous close-up, which to some extent increases the deep and dense atmosphere of the picture and the dynamics of the picture, which seems to be similar to the Neutral "Journey map of the Stream and Mountain" of the Northern Song Dynasty, and has both realism and freehand. The mountains, slope stones and main peaks, the use of dignified and soft cloaks, repeatedly outlined rubbing, painting with a strong and sophisticated brush, but full of toughness, it is very certain to be free, making the mountain round and thick. The painting methods of the pebbles at the top of the mountain and the foot of the mountain are derived from Dong Yuan's brushwork, and the brushwork is relatively simple and bright. Distant mountains and jungles are mostly ink horizontal points, or lightly dyed with ink, this kind of picture processing comes from the Mijia landscape, and the smoke and rain misty rain and mist are more vividly and directly expressed. The whole work is unique in color design, which is especially rare in the works handed down by Ma Wan, that is, in the tone of ink dyeing, with a very ingenious technique, it is covered with a light green and green, the peak to the sun is covered with a thin layer of ochre, and the leaves are dyed with simple and bright flower blue dots, showing the subtle change of light and color of the object under the sunset glow and the breath of the mountain color, which is deeply rooted in the true temperament of the mountain and river objects. The Ming Dynasty Tang Zhiqi has a cloud in his book "Micro-words on Painting Things": Whoever paints landscapes and rivers most wants to have the temperament of landscapes. To gain its disposition, the mountain must embrace the undulating trend, such as jumping like sitting, such as pitching like leaning, such as hanging feet, natural mountain feelings are my feelings, mountain nature is my nature, and the pen is not soft. Water also has the momentum of the waves, such as scales, like clouds, like ghosts, natural water is my nature, water is my feelings, and the pen is not dull. Or ask the landscape, what temperament? I don't know that although the mountain nature stops, the situation is vivid; although the water nature flows, the situation is shaped by the waves. "Twilight Cloud Poetic Intentions" are all created for Ma Wan's true temperament and exquisite talent! However, through this work, it can also be seen that the author Ma Huan integrates the green and green dyeing techniques of mi fu mi jia landscape and water, and the style is thick and solemn and bright and warm, using light ink, thick ink, accumulated ink, light color, and unique treatment methods to show the changing posture of mountains, mist, wind and rain, and deeply obtain the spirit of mountains and rivers and the aura of clouds and water.
Throughout the history of traditional landscape painting in ancient China, it is really a bright star, and each painter blooms with his own unique light, which inspires the evolution and development of Chinese painting in later generations. Of course, the civilization of human society in one era will inevitably affect the civilization process of the next era and all subsequent eras, and so far in our various types of art teaching, we attach great importance to tradition, often inheriting tradition and carrying forward tradition as an important direction for current learning, especially our Chinese painting, tradition is the most important foundation, which directly affects the question of whether this painter can go far. Li Keyan, a master of modern landscape painting, said that "use the greatest strength to fight in, and then use the greatest courage to fight out." The Chang'an School of Painting has the creative concept of "one hand reaching out to tradition and the other reaching out to life", which shows the importance of tradition for the development of modern and contemporary Chinese painting. Over the years, I have benefited from too many traditional things, and I also believe that most of the well-known famous paintings have also influenced and changed the creative ideas of many painters, and in the vast ocean of traditional art, Ma Wan's "Poetic Intention of Twilight Cloud" is also a complete and exquisite ship, in a certain period of time when I studied traditional landscape painting, it gave me a lighthouse-like artistic creation direction, from which I learned a lot of means and methods of landscape painting creation and picture detail processing.
summary:
The poetic intentions of the late Yuan and early Ming dynasties, landscape paintings, Ma Wan, and Twilight Clouds
keyword:
Ma Wan, Traditional Painting, Landscape, Dong Yuan, Ju Ran, Fan Kuan, Huang Gongwang, Pen And Ink, Pi Ma Chuan, Mi Fu
bibliography:
DENG Shaoji,YANG Gao. The Great Dictionary of Chinese Writers, LiaojinYuan Volume, Zhonghua Bookstore, Beijing.
Ming Tang Zhiqi and Zhang Manhua proofread "Painting Matters", Shandong Pictorial Publishing House.
Fu Baoshi, Theory of Chinese Painting, Jiangsu Education Publishing House