If an "idol creation camp" had been held during the Wei and Jin dynasties, it would certainly not have been realistic. Because the economic base determined the superstructure, it created camp discomfort in that era. Wei Jin, what kind of style is it? Mr. Lu Xun once said: The Wei and Jin dynasties were the consciousness of literature.
The most familiar stories, such as: Cao Cao, who killed decisively, wrote "Guancang Sea", and Cao Zhi, who had a bad career, composed "Seven Steps Poem".
The name Gu Kaizhi, which existed in history textbooks and public examination multiple choice questions, was a myth of that era.
01 Wei Jin loves dou Gu Kaizhi
Gu Kaizhi, known as the three absolutes - talent, delusion, painting. His understanding is profound and impressive. Low-key high emotional intelligence.
Legend has it that in the temple, when registering almsgiving, Gu Kaizhi, who had not donated a single penny, wrote down 1 million yuan with a stroke of his pen. After saying that, I asked for a blank wall, and with a big stroke of a pen, I painted a "Vimalakita Diagram" on the wall, leaving only my eyes without dropping the pen.
Then let the temple spread a message, inviting everyone to come and see him draw his eyes and collect tickets! Soon, people came from all over to watch, and the ticket money quickly rose to 1 million.
This "Vimalaya Map" has turned into ordinary dust with the passage of time, but we still have the opportunity to see the other works of this talent.
02 "Female History Proverbs", Palace Rules? Also with, illustration?
The Female Shi Zhen (女史箴) is an essay written by Zhang Hua in the Jin Dynasty, which is intended to standardize the behavior of women in the court and teach people to establish noble virtues. It was revered at that time as a famous passage of "bitter mouth Chen Zhen, solemn warning of the world". This great work, "Female History Proverbs", is a painting painted by Gu Kaizhi.
The painting has a total of 12 paragraphs, which are mainly realistic and effectively reproduce the scenes in the text. The layout of the picture is staggered, the characters are the theme, the mixed landscapes, animals, the picture is rich and lively, which can highlight the author's state of mind.
For example, the first paragraph explains that the Han Yuan Emperor led the palace people to see the fighting beasts, and the harem beauties were present. A black bear suddenly jumped out of the fence and approached the Han Yuan Emperor, and Feng Jieyu stepped forward to protect the Han Yuan Emperor.
In the painting, Feng Jieyu is dressed in a long coat, her figure is weak, and when the crisis comes, the bravery and fearlessness she shows are impressive. Corresponding to this were the two samurai around them, who were armed with weapons, but their faces were frightened, which further highlighted Feng Jieyu's spirit of not being afraid of danger. As for the other palace women, the panicked look is in stark contrast to Feng Jieyu's standing tall, and more prominently shows Feng Jieyu's bravery and loyalty.
In this painting, Gu Kaizhi fully and vividly expresses the different images and personalities of the characters. It also uses contrast to highlight the distinct personality of the protagonist.
For example, in the fourth paragraph, three women are depicted grooming in the mirror. In the picture, the woman is elegant and quiet, and Gu Ying is self-pitying. There are mirror tableware around it, which is very exquisite.
Caption :"Man knows how to repair his appearance, and mo knows how to decorate his nature." This means that everyone loves their appearance, but more importantly, improves their moral cultivation.
Judging from the combination of pictures and texts, this is a flaw in this painting. Because from the picture alone, we can't see the deep meaning in the text, can't express complex thoughts and feelings, and lack charm.
In The History of the Development of Art, Gombrich once mentioned that "painting is the history from knowing to seeing". Our painting art is a process from knowable to visible to knowable. Obviously, this "Female Historiography" is just a process from knowable to visible.
03 Why- Write God in Form?
In the long history of China's art development, Gu Kaizhi has achieved the transformation of writing gods in form. Is it the talent that creates the times, or the current events that create the talent?
There was once a discussion about what was hardest to draw. One painter's answer was: It is the most difficult to paint dogs and horses, and it is easiest to paint ghosts. The reason is that dogs and horses are visible and everyone can judge. And the ghosts are imaginary and undocumented.
Legend has it that when the Xiongnu emissaries came to visit, Cao Cao deliberately changed his clothes with the guards in order to tease him. After a few words, the Huns left. Privately, someone asked him how he thought of Cao Cao, and he replied: Ping Ping, I think the guard next to him is extraordinary.
Wei and Jin were an era of attention to thought and an era of reverence for spiritual outlook. Due to artistic considerations and the call of the times, it is spread out in a freehand painting style. And it was the talented Gu Kaizhi who created this precedent.
The painting of "Roselle Futu" is inspired by Cao Zhi's gorgeous chapter "Feeling Zhen Fu", who pours out the pain of Huai Cai's encounter in the text. Gu Kaizhi's illustration this time is a secondary creation, realizing the realm of knowable and visible to knowable.
04 "Roselle Futu" - I drop a god!
The Roselle Futu is divided into seven parts, with the protagonists Cao Zhi and a Roselle Lady. As for why there are occasionally multiple Roselle Girls in the picture, it is to express the different action trajectories and postures of Roselle Girls. You can also understand it as a dynamic graph. Play your imagination! The painter can only help you get here.
At the beginning of the falling water, I was in danger. Roselle appears and meets. It's like a dragon. Man and God meet each other, and the friendship continues. Helpless, the people and gods are different, and Roselle drove away in the Six Dragon Cloud Car. Cao Zhi chased after the boat, but failed.
The lost lover wept on the ground, the two candles around him had burned out, was he crying and sitting all night? Two nights?
Roselle did not appear after all, and the lover was disheartened, remounted on the horse, and returned to his original life.
This love story that can be sung and wept is probably the blueprint for all costume romance dramas. When we look at this painting, we focus not only on what is painted, but on what is said.
Throughout the painting, the painter fully mobilizes his imagination and the characteristics of the painting itself on the basis of being faithful to the original story. A large number of images are used in the paintings, which promote the interweaving of the natural, human and immortal worlds. It further conveys the feelings between man and God.
The painting conveys the visual and auditory effects through the color, technique, and arrangement of the space; the depiction of real scenes, such as the nature of the landscape, visualizes the illusory virtual, and the spirit beasts, auspicious rui, and the immortals who are fluttering and dashing from time to time make the picture rich and religious.
Obviously, because this painting writes about God in form, the artistic achievements of the great talent Gu Kaizhi have been raised to many levels.
05 A drop of his ink, a star in the sky
If economic development has created a higher level of art, this statement is not entirely true. Because Gu Kaizhi's paintings are classics in any era, they will not be underestimated because of their age, and they will not be forgotten.
We can't fully appreciate the air of that era, and empathy doesn't exist in the world, let alone thousands of years apart.
But, however, it was such a coincidence. In his pen, we feel the spirit it wants to convey, sighing his sigh, sighing his sigh. This is the detachment of art.