In July, the "Walking Forbidden City Culture" - The Forbidden City Shiqu Baodi Painting Digital Technology Exhibition was launched in Xi'an Happiness Forest Belt Global Harbor, integrating Zhao Mengfu's "BathIng Horse Diagram" calligraphy and painting works with modern digital technology, breaking the boundaries of culture, art and technology, and finally enabling the "Bathing Horse Diagram", a famous painting to be digitally "resurrected", recreating the scene of several Xi officials and horses getting along in the picture, providing the public with a dialogue experience with the ancients beyond time and space.
The digital resurrection of the Yumatu
The work aims to create a "realm of my own" that combines the work with the audience, the audience can feel the fun of visiting the garden in the ancient paintings through the works, the combination of dynamic and static, the real texture and virtual technology, the tree vegetation in the bath horse diagram, the satin mountain stone, through the garden landscaping method, the ancient trees stand majestically between the stones. The characters and horses that were originally stationary in the ancient paintings also come out of the ancient paintings through holograms, and the people and horses are different as if they are in front of the audience, and the audience becomes a part of the work and integrates into the picture when they enter the work.
Forbidden City Shiqu Baodi Painting Digital Technology Exhibition Yuma Exhibition Area Site
When Wang Guowei mentioned the concept of realm, he proposed the realm of self that prevails with intention, and the realm of no-self that wins with the realm, and the realm of having me emphasizes my existence even more, and this strong sense of participation is the most accepted way of viewing the exhibition that is now popular.
From virtual effects to realistic rendering
How to empower art with the help of science and technology, let tradition break through the shackles of time, be full of modernity, be accepted by more and wider people, and make the picture more aesthetic and advanced, which is the problem we have been thinking about.
The framing part of the original painting of "BathIng Horse Diagram"
In fact, "Bathing Horse Diagram" revolves around the expression of the realm in Zhao Mengfu's paintings, and pays more attention to the audience's sense of participation and interaction with the work. We are constantly thinking about how to make a static picture more vividly resurrected when we are creating. So we chose the creation of "realm", let the picture break through the limitations of paper, from two-dimensional to three-dimensional, so that the people and horses in the picture that should have been vivid really moved, so that we have our current design: let the dynamic image have a substance in the space, integrate with the landscape, and seamlessly connect with the audience, immerse in it as if there is the fun of visiting the garden.
Based on the original painting scene, the virtual rendering was born
Just after reading the "Bath Horse Diagram" after our "resurrection", I think everyone has developed a strong interest in this "Bath Horse Diagram" painting. Today, XiaoDi will take everyone to appreciate this magnificent masterpiece from many angles such as painting techniques and pen and ink charm, and jointly feel its lofty and clear aesthetic conception.
"BathIng Horse Diagram" (Yuan Zhao Mengfu painting) (partial)
"Bath Horse Scroll", colored on silk, its length is 28.5 cm, width 154 cm. The painting depicts a group of horsemen bathing in a wild stream. There are 9 horse officers and 14 horses on the screen, which are divided into three parts: pool, bathing and leaving the pool. The shape of the horse is accurate, the various postures jump on the paper, the form and skin color are different; the character image is handsome, and the age, appearance, and movement are full of personality. Horses are physically strong, with different looks, or drinking water with their heads bowed, or leading their necks to hiss, or looking up, or lying on the shore, or eating grass with their heads bowed, etc., with vivid intentions. Horses are different from young and old, wearing a variety of different colors of clothing, or standing in the water to wash the horses, or leading horses to the creek, or crossing the horse into the water, or driving ashore, or riding a horse to look out, or taking a nap on the shore.
Looking at the whole painting, the picture does not highlight a certain detail, but is presented in the overall scene, through the composition of the middle scene and the treatment of distance, virtual reality, cold and warm, the relationship between people, horses and the environment is harmoniously unified on the picture, setting off a warm atmosphere of friendly coexistence and interdependence between people and horses.
From the perspective of painting techniques, Zhao Mengfu followed the expression techniques of the green landscapes from Wei Jin to the Middle Tang Dynasty, depicting the general situation through color and hook lines. The color added a lot of ink color, with the ink pen as the dry, the cover with a light green, getting rid of the golden splendor of the predecessor's green landscape, a little more translucent and moist; the brushwork is simple and vigorous, the trunk slope stone, the method is washed and strong, whether it is clear and transparent stream water, or a beautiful water plant, double hook green sycamore, willow tree and other sandwich trees, the painting method has the characteristics of the rules, so that "ink does not hinder color, color does not hinder ink, color and ink combination, complement each other" effect.
The distant scenery is basically written in light ink, and the artistic conception is profound. Ma Guan's skin color is either Zhu or green, or white, lined with antique silk, fine with pen, thick tone, fresh and beautiful style, which plays a prominent role in the character.
Zhao Mengfu not only made great achievements in the field of calligraphy and painting, but also enjoyed a high reputation in calligraphy and achieved great achievements. He was a very accomplished calligrapher of the Jin and Tang dynasties, and there are many handwritten works, including "Luoshenfu", "Tao Te Ching", "Bile Tablet", "XuanmiaoGuan Reconstruction of the Three Doors", "Linhuangting Jing", "Lanting Eleven Treks", "Four Body Thousand Character Text", etc., which were included in the four major books of the Tang Dynasty together with Ouyang Qing, Yan Zhenqing and Liu Gongquan.
In the field of painting, Zhao Mengfu pays attention to the use of brushwork, painting with calligraphy brushes, and integrating painting and calligraphy, which are reflected in the "Bath Horse Diagram". Zhao Mengfu's pursuit of the trend of pen and ink integration has made important changes to the landscape painting of the later Yuan Dynasty, and has also brought traditional Chinese landscape painting into a new realm.
This painting is signed "Zi Ang for Peace", the first is the Qianlong Royal Book "Qingxi Dragon Leap", and there is another imperial inscription poem, "The blue waves are clear and clear, the fourteen flying dragons are bathed in it, Xi Guan has nothing to do with Shanglan, And Li Huang Mu Mu Ping District View." Ji Xian paints the horse's body, that is, the horse, and there is no truth or falsehood in the peeping. The handwriting is vigorous and powerful, which complements the dense picture, and prints "a few pleasant feelings" and "Qianlong Chenhan". The tail paper has Wang Zhideng and Song Xian's inscription.
It is the summer, come to the Forbidden City Shiqu Baodi Painting Digital Technology Exhibition, walk into Zhao Mengfu's bathing horse world together, and experience a shocking "garden dream"!