A hundred dangerous peaks stand majestically in the middle of the picture, the cloud top is thick on all sides, the overall show is moving, strange and stable: the surrounding peaks are gathered, like a pilgrimage. The waterfall line, rushing down, cascading down, pavilions, bridges, cottages, mountains, winding, or hidden or present, constitute a rich and endless landscape.
This beautiful text written by contemporary writer Feng Jicai depicts the picture presented in the "Kuang Lu Tu" of the five generations of painter Jing Hao.
Jing Hao is a key figure in the evolution of ink landscape painting, combining Wu Daozi's line drawings in the Tang Dynasty with Xiang Rong's ink splashing technique to expand his ability to describe landscapes with pen and ink. His painting style was later inherited by Guan Tong, Li Cheng and Fan Kuan, and evolved into an eternal and immortal "panoramic landscape".
Jing Hao,Zi Haoran,Trumpet Hongguzi,a native of Qinshui County, Jincheng City, Shanxi Province, was a famous painter of Liang five generations later.
Jing Hao avoided war and chaos, and lived in seclusion in the Taihang Mountains for many years. He was good at painting landscapes and studied under Zhang Cao. Together with three other important landscape painters of the five generations, Guan Tong, Dong Yuan, and Ju Ran, they were called "Jingguan Dong Ju", and created the Northern Landscape Painting School, which is characterized by depicting lofty mountains and mountains.
Kuang Lu Tu
Lushan or Taihang Mountain?
"Kuang Lu" refers to Lushan Mountain, Jiangxi, and it is said that several Kuang brothers once married here, so it is called "Kuang Lu". In fact, there is still controversy about whether the scenery depicted in Kuang Lu Tu is really Lushan Mountain.
Allegedly, the original name of the painting was not "Kuang Lu Tu". According to the inscription poems left by the Yuanren Ke Jiusi, the Qing Dynasty believed that the picture may be represented in Lushan, and when it was included in the "Continuation of Shiqu Baodi" during the Qianlong period, it was officially renamed "Kuang Lu Tu".
Some scholars believe that the picture is most likely not lushan, but the Taihang mountain where Jing Hao often lives in seclusion.
However, no matter which part of the mountain in the painting is, it does not prevent us from appreciating the work itself.
The Kuang Lu Tu, now in the National Palace Museum in Taipei, is huge in size and uses a vertical axis composition. This form, unlike the banner hand scrolls that can be unfolded little by little, is more suitable for expressing the whole landscape.
It is conceivable that when this one-person-high landscape painting is hung, the unobstructed majestic momentum will bring the viewer a shock.
The picture can be divided into three levels from top to bottom, the upper part of the mountain towering, the contour line of the mountain rock seems to be straight and parallel, in fact, the line is dense and dense, and the rubbing dot dyeing is applied according to the structure of the mountain.
The middle section of the painting is separated by a vast expanse of water, opposite the bulky vista main mountain in the upper left. Traces of human habitation also began to appear in the middle scene, and a mansion was hidden in the forest.
In this part, the shape of the mountain rock is more varied, the peaks are hidden from each other, a mountain road winds out, and the waterfall "falls between the two peaks", which makes the viewer yearn for the scenery in the mountain.
The lower part of the painting shows the scenery at the foot of the mountain, the terrain is suddenly open, and the rushing waterfall merges into the calm and distant river.
A boatman in the water holds up a flat leaf boat, leisurely leading the viewer into the good situation in front of him. There are houses on the riverside, and there are leisurely pedestrians on the side of the road, which is idyllic.
In the Song Dynasty, Guo Xi put forward the "three-far method" of "high, flat, and far-reaching" landscapes, and the picture arrangement of "Kuang Lu Tu" coincided with the realm of "high yuan" and "ping yuan".
The degree is true, and the temperament is full
In addition to his outstanding creative strength, Jing Hao is also good at summarizing experience into painting theory.
Jing Hao is the author of "Notes on Brushwork", on the conception, composition and pen and ink techniques of landscape painting, and is the first work on landscape painting. In the book, he proposed "qi, rhyme, thought, scenery, pen, ink" as the "six points" for painting scenery.
He also discussed the relationship between "truth" and "likeness", emphasizing the need to "measure things and take their truth". "Those who are like it, get their form and leave their breath, and the true one has a strong temperament." He believes that the goal of painting is to combine the form and "qi" of landscapes.
"Kuang Lu Tu" is also true. It coincides with his quest for "truth." In the creation of the landscape artistic conception, he can skillfully compose the picture, so that the real scene achieves the effect of "temperament".
For example, Jing Hao's arrangement of the water inlet is very clever, and the flowing water makes the mountain scenery have a spirit. The waterfall in the painting begins in the upper left corner of the picture, sometimes flowing straight down, sometimes disappearing behind the mountain peak, sometimes meandering and turning, and finally merging into the lower right corner of the picture.
The flow of water also leads the "potential" of the picture from the top left to the bottom right, which is both realistic and because of the painter's ingenious arrangement, the artistic conception of the composition is even higher.
Jing Hao advocated painting to be faithful to natural objects, "taking its potential from afar and taking its quality from near". In "Kuang Lu Tu", the sense of reality is very strong, you can see the painter's profound experience of the natural landscape, and at the same time you can feel the hermit feelings of humility.
Compared with the "Six Laws" of the Southern Dynasty Sheikh, Jing Hao also emphasized the important position of "qi rhyme" in painting, while "color with class" was replaced by "ink", perhaps which shows that in Jing Hao's view, the color of ink is more in line with the nature of nature.
Jing Hao emphasizes that pen and ink are equally important, and the penmanship and ink method used in "Kuang Lu Tu" are already very mature, and the pen strength is exquisite.
He once said: "Wu Daozi paints landscapes, with pen and no ink; Xiang Rong has ink and no pen, and I should take the strengths of the second son and become a family. "He has combined the great achievements of the Tang dynasty landscape painting method, absorbed the strengths of all, and pushed the landscape painting since the Jin and Tang dynasties to a new realm of both ink and ink and dyeing."
Painting the outline of zhongshan stone, mostly for the center of the pen, the method used for dyeing, is called "axe splitting", "unsounding", "nail head wrinkle" and so on.
Zhang Ruitu of the Ming Dynasty praised: 'Jingguan iron pen is majestic and heroic", which means that Jinghao and Guan Tong's pens are as powerful as iron, and the landscapes painted are majestic and heroic, and they have a northern national temperament.
The early landscape paintings of the Sui and Tang dynasties were mostly based on hook filling, and the dyeing techniques were not mature, and when it came to the fifth generation, Jing Hao's painting method greatly broadened the pattern for the development of ink landscape painting in later generations.
Guan Tong, Dong Yuan, Li Cheng, Fan Kuan, Guo Xi and other painters all studied under Jinghao. His method of painting and panoramic composition had a major influence on landscape painting from the fifth dynasty to the early years of the Northern Song Dynasty.
"Kuang Lu Tu" is a silk painting, and now it seems that the silk color is ochre yellow and bright and fragrant, but its original appearance does not seem to be the same.
In the Qing Dynasty Sun Chengze's "Records of Gengzi Pinxia", there is an entry: "Jinghao Lushan Tu", which records that he bought this painting from his "hometown", "silk is like a silver plate, which makes people fly." On the top is the Song Gaozong inscription Jing Hao True Artifact Divine Product's six characters, and the treasure of the Inner House is used below. There are also two poems of Yuan Ren Han Yu and Ke Jiusi. ”
Sun Chengze exclaimed, "It is a day, the pine wind is full of rumors in my hut, and the summer has been avoided." The words reveal the love of the newly acquired paintings, and the overwhelming momentum contained in "Kuang Lu Tu" can also be glimpsed from it!
About Kuang Lu Tu
The current collection is the National Palace Museum in Taipei; The author is a painter of five generations, Jing Hao, who is known for his ability to express northern landscapes; It is a panoramic landscape painting; "Kuanglu" is a later name; Jing Hao has both creative strength and is good at theoretical summarization, and has authored "Notes on Brushwork"; Jing Hao's painting style had a great influence on the five dynasties and the Northern Song Dynasty.