<h1 class= "pgc-h-arrow-right" > the sixty-fifth of the series of traditional painting themes</h1>
The wind blew with severe frost, and the goshawk overturned the dawn.
As a bird of prey, the eagle is deeply rooted in people's traditional impressions with its image of bravery and fearlessness, which is more endowed with an inherently uninhibited free character in the traditional culture of gentleness and elegance, and has become a spiritual yearning and pursuit beyond the heavy flesh, especially in such an elite group as the literati doctor. And this indiscriminate development has anchored such a fixed image in the generations.
The praise poems of the goshawk in the past are everywhere, especially the healthy posture of the goshawk when fighting prey, which is repeatedly chanted by people, and in such a cultural atmosphere, the goshawk figure with different postures has also become a widely sought after subject of the painter's pen. The Tang Dynasty poet Du Fu once wrote a poem "Painting Eagles": "Su Lian feng feng rises, and the goshawk paintings are special." Shrugging his head and thinking cunning rabbit, his side eyes seemed to be worried. The light of the silk can be picked, and the Xuan Yang can be called. He Dang hit the birds, and the blood sprinkled on the ground. The poem depicts the heroic posture of the goshawk in hunting rabbits vividly, full of a sense of masculine power. Su Shi wrote heroically in "Jiang Chengzi Mizhou Hunting": "The old man talks about the juvenile madness, the left leads the yellow, the right Qingcang, the golden hat mink, the thousand horse rolls Pinggang." From these poems, we can see the heroic light of the intention of the goshawk in the eyes of the traditional literati.
Emperor Huizong of Song (Paragraph) "Royal Eagle Diagram"
In painting, the theme of the goshawk figure is even more enduring. Judging from Du Fu's poems and painting history materials such as "Xuanhe Pictorial Notation", the theme of the goshawk figure occupies an important place in the early flower and bird paintings, and it is recorded that the flower and bird paintings such as the Tang Dynasty Bianluan and the Five Dynasties Period Huang Juyu have all created paintings on this subject, and the saying "The horses of The Eagle Zhao Ziang of the Song Huizong Emperor are good paintings" mentioned in the "Red Chamber" can also prove the popularity of this theme in the early flower and bird family. So far, the earliest visible goshawk diagram, the Song Dynasty Li Di's "Maple Eagle Pheasant Diagram" depicts the scene of the goshawk catching the pheasant, on the dead branches of the old pole of the maple tree, a goshawk is ready to attack, leaning over the ground to panic and flee the pheasant, the picture is full of a tension between movement and stillness, and the portrayal of the eagle is extremely evocative, focusing on the depiction of key parts such as the eagle's eyes, beak and claws, and dyeing the level and structure of the feathers with ink color. Thus the eagle's domineering and fierce momentum is interpreted in detail, so that the whole picture flows with a kind of fatalistic consciousness and tragic atmosphere of the weak and the strong, highlighting the image of the eagle in the picture that is uninhibited and fearless and invincible.
Song Li Di 《Maple Eagle Pheasant Diagram》
Influenced by the impression of the painting style of the Song Dynasty, most of the Chinese bird paintings in the Song and Yuan Dynasties emphasized the style of realism, and the painter generally adopted a painting technique such as gongbi, so that the whole picture had a regular style, and the domineering and arrogant characteristics of the eagle were interpreted with a unique charm. For example, in the works of zhang shunzhi of the Yuan Dynasty, from the works of such a genre as "Eagle Juniper Diagram" and "Cangwu Bamboo Eagle Diagram" that have been handed down, the depiction of the eagle is almost similar to the technique of the eagle used in the works of Song Huizong, Li Di and others, the shape is accurate, the demeanor is free, and the delicate brushstrokes portray the eagle's spirit in depth and simplicity, although the picture of capturing the prey is not adopted, but the majesty and temperament of Yu Xuanang, who is high above the branches, has a kind of arrogance that is not angry and arrogant. Overall, this kind of goshawk diagram in the Song and Yuan dynasties, in the depiction of the eagle, pays attention to excavating the spiritual temperament behind the realistic meaning, and under the delicate picture brushstrokes, the unrestrained and wild anger is about to come out.
Yuan Zhang Shunzhi 《Eagle Juniper Diagram》
Yuan Zhang Shunzhi 《苍梧竹鹰圖》
In the paintings of the Ming and Qing dynasties, the subject matter of the goshawk figure has been comprehensively developed and broken through in court painting and literati painting, and presents two different aesthetic pursuits, the goshawk figure in court painting pays more attention to that sense of form, and the literati painting highlights that kind of freehand.
In the field of court painting, the flower and bird paintings of this period continued the aesthetic taste of song dynasty court paintings, so that most works such as goshawk drawings paid attention to the sense of form on the overall composition of the picture, and combined with work as the main work, it became the most common technique for this kind of subject. For example, the Ming Dynasty court painters Lin Liang and Lü Ji's works, which integrate the styles of Huang Xiaofugui and Xu Xiyeyi, and draw on the pen and ink interest of literati paintings, so that the theme of the eagle drawings they write has a classical temperament, and achieves a harmonious beauty between the brush and the freehand, such as Lin Liang's "Double Eagle Diagram", "Autumn Eagle Diagram", Lü Ji's "Eagle Magpie Diagram", etc. The eagle in the picture uses the technique of ink sketching, and the ink rhyme has a worklike style, and the movement is appropriate. There is a heroic grandeur in the vitality, with a sense of form in the typical royal aesthetic will. In addition, there is a kind of work that is made by directly copying the Royal Eagle Diagram of Emperor Huizong of song, this kind of work is to exert the realistic style to the extreme, but this excessive pursuit of the precision of the modeling and the subtlety of the brushwork makes the pen and ink much less interesting, the picture lacks agility and is slightly dull, such as Bian Jingzhao's "White Eagle Diagram", Lü Ji's "Royal Eagle Diagram" and Lang Shining's "White Eagle Diagram" and other such works, the eagle occupies the theme of the picture, but this kind of work, although the technical techniques look impeccable, but from the inner connotation of the work It is clear that it has lost its original wildness, anger and vitality.
Ming Linliang, "Double Eagle Diagram"
Ming Linliang, "Autumn Eagle Diagram"
Ming Lu Ji "Eagle Magpie Diagram"
Ming Lu Ji "Royal Eagle Diagram"
Ming Bian Jingzhao 《White Eagle Diagram》
Qing Lang Shining《White Eagle Diagram》
In the field of folk literati painting, the expressiveness of the goshawk diagram is more direct and simple and rich and colorful, the imaginative picture composition has greatly expanded the performance space of this subject, and the various goshawk diagrams written by various literati are more personalized in the excavation of the spiritual connotation contained in this subject, so that the goshawk diagram is more and more deeply rooted in the hearts of the people with its maverick character in the traditional painting theme. It becomes a common endorsement image that embodies high purity and fearless courage. Such literati-style works are typically represented by the Bada Shanren of the late Ming and early Qing dynasties, as well as Hua Yao and Huang Shen among Gao Qipei and the Eight Monsters of Yangzhou in the middle of the Qing Dynasty. The most prominent of the various goshawk diagrams of the Bada Shan people is the iconic white eye, there is a kind of independence and untamed arrogance, its composition, ink, etc. have a distinct personality, and there is an inherent arrogance and noble feelings of broken bones as pens and blood as ink. And yangzhou eight monsters in The various kinds of goshawk diagrams created by Huang Shen, Hua Yao and others are eclectic in the composition of the picture, indulging in pen and ink, freehand conveying the gods, simplifying and complex, so as to integrate the goshawk's demeanor with their own inner feelings, some paintings are more with the finishing inscription to express the chest, for example, Huang Shen's goshawk diagram is often inscribed with words such as "the wind is set to fly, to meet the line and dance, the side of the branches, the spirit of the eternal (lifelike)", Hua Zhao's "Pine Eagle Diagram" is titled "Wings outside the smoke, high eyes disease" Such a verse directly points out the meaning behind the painting, implying the integrity and dignity that he does not want to be reluctant in the world, and borrowing the goshawk diagram to metaphorically describe his arrogance and personality.
Qing Bada Shanren "Goshawk Diagram"
Qing Bada Shanren 《Boulder Goshawk Diagram》
Qing Bada Shanren "Eagle Diagram"
Qing Gao Qipei "Song Eagle Diagram"
Qing Gao Qipei "Independent Dry Pine Map"
Qing Huang Shen 《Dead Wood Goshawk Diagram》
Qing Huang Shen 《Dead Wood Eagle Diagram》
Qing Huaxue "Pine Eagle Diagram"
Qing Shitao", "Autumn Eagle Diagram"
Pen and ink were contemporary. Since modern times, the traditional theme of the goshawk chart has been even more brilliant, and has been given more ideological characteristics and aesthetic consciousness that resonate with the same frequency of the times, and more alludes to a maverick heroism of giving up oneself and others. Qi Baishi, Xu Beihong, Li Kuchan, Liu Jijie, Pan Tianshou, Huang Ji and other Chinese painting masters in their various styles of goshawk diagrams, under their own unique pen and ink language and composition philosophy, explain a kind of heroic complex of the big self, and interpret the meaning of them to the fullest in the appreciation of elegance and customs, for example, Qi Baishi once used the goshawk figure as a gift of shouzuo, with a harmonious technique to imply the meaning of heroism, becoming a legend in the modern painting world.
Qi Baishi "Eagle"
Qi Baishi "Pine And Cypress Goshawk"
Xu Beihong, "Eagle"
Li Kuchan ,"Two Eagles Vision"
Li Kuchan "Song Eagle Diagram"
Pan Tianshou "Shochiku Eagle Stone Diagram"
Liu Jijie, "Eagle"
The soaring of freedom, the fearless fighting, the proud WuLi, the vivid image of the eagle depicted in the picture of the goshawk, in the traditional cultural context of borrowing the meaning of the object and the speech of the object, its consistent positive value attribute has been given more and deeper humanistic spirit with the passage of the times, and the free and uninhibited posture of the goshawk leaning over the heavens and the earth vividly and persistently shows the widely respected heroism and noble feelings.