"Cevi tu" Li Tang Southern Song Dynasty
"Boya Drum And Qin diagram" Wang Zhenpeng Yuan Dynasty
The theme of this exhibition is "Elegant Under the Forest", and the main exhibition is Gaoshi who lives in Linquan and his anecdotes and elegance. Usually, works depicting such subjects are classified in the history of painting as character story paintings, also collectively referred to as "Coats Figures". The whole exhibition includes two major units: Escape from the World, Gao Yi, and Yan Ju Youxing. The 76 exhibits are exquisite, ranging from hand-scrolls about Coats' seclusion, colorful heavy-color paintings to simple white-painted figure painting albums. Through various presentation methods, the exhibition aims to let the audience better understand the hermit masters in the history of Chinese art, such as Bogu, Chess, Tea tasting and Zen Meditation, as well as their noble sentiments of indifferent fame and fortune, timeless and exquisite taste of life, loyal and observant morality, and elegant and hidden spirit.
The first half of the exhibition is the "Escape from the World" section. According to reports, the official history books of China's dynasties have records and praises about "Gaoshi" and "Yimin", and they mostly despise the gains and losses of honor and disgrace, and they have different ways of hiding and spiritual connotations due to their different historical backgrounds, family origins, life experiences, and personality temperaments. This unit selects paintings that can present the words and deeds and demeanor of the reclusive Coats, including classic themes such as "Seven Sages of the Bamboo Forest" and "Returning to the Word", and selects collections of different periods and styles, so that the audience can better understand the inheritance and transmutation of Chinese paintings on this subject.
The exhibition begins the exhibition with Qing Renyi's "Ear Washing Diagram", Shi Tao's ink pen "Character Story Diagram" and the famous Southern Song Dynasty Li Tang's "Cai Wei Tu", all three of which are allusions to highlight the theme of the hermit's lack of power and self-improvement. The Southern Song Dynasty Li Tang's "Cai Wei Tu" paints the story of "Shouyang Gaoyin" in history, and is a masterpiece of character painting in the early years of the Southern Song Dynasty. According to the history books, After King Wu of Zhou destroyed the Shang, Boyi and Shuqi were nostalgic for their homeland and did not eat Zhou's Feng Lu, so they avoided living in Shouyang Mountain and were full of hunger, and eventually starved to death. This story has been passed down through the ages and has become a symbol of the chinese literati's loyal observance and hermit spirit. The picture depicts two people sitting on the ground in the forest spring, they are dressed in rough grass, their faces are thin, and baskets and hoes are placed on the ground. The facial image of the character is vivid, the lines are soft, the color is light, and the clothing pattern is simple and vigorous, and it is flexibly summarized. The tree stone is rough and vigorous with the pen. The painter Li Tang was originally a painter of the Northern Song Dynasty Xuanhe Period, and after the fall of the Northern Song Dynasty, he was exiled to Hangzhou, and he was nearly eighty years old. Later, he was recommended to enter the painting academy and was greatly appreciated by Emperor Gaozong of the Southern Song Dynasty. Li Tang was good at painting landscapes and was one of the "Four Great Masters of the Southern Song Dynasty".
Shi Tao's paintings have a wide range of themes, and are known for their ink paintings of landscapes, figures, flowers and bamboo stones. As one of the "Four Monks of the Early Qing Dynasty", he had a profound influence on the "Yangzhou School" and the modern painting world. In the "Character Story Map" of The Graphocell, the story of Ishidonong is also a depiction of allusions. The story is about a farmer who wanted Emperor Shun to give way to the Ishido region, but the farmer thought that Shun's virtue was not great enough, so he should not. In order to avoid worldly disturbances, farmers took their wives and children to live overseas and never returned. The story embodies the spirit of Ishido Nong's emphasis on moral cultivation and resolute retirement. The painting also transcribes the Biography of Coats paragraph by paragraph, with text and painting subject figures. From the first paragraph of self-title, it can be seen that this was written by Shi Tao in Lushan, Jiangxi Province, when he was 23 years old in the third year of Kangxi (1664). The characters in the picture are all sketched in fine white, and the characters are high and ancient, with special emphasis on the portrayal of the five facial features, and strive to highlight the personality of the hermits who dilute the lonely heights. From the modeling ability and pen and ink techniques, it can be seen that Shi Tao has worked figure painting and has achieved extraordinary achievements in his youth.
The Ming Dynasty painter Dai Jin was a master of the "Zhejiang School" painting style, and was good at landscapes, flowers and figures. Figure painting is the same as its landscape painting in the style of the Southern Song Dynasty", which is rigorous in its early years and vigorous and vigorous in the late period. Dai Jin's "Four HaoTu of Shangshan Mountain" tells the story of four old gentlemen at the end of Qin, all of whom are more than eighty years old, with white eyebrows, known as "Four Hao". In order to avoid the tyranny of Qin, they lived in seclusion in Shangshan, and Han Gaozu had recruited them to join the dynasty, but they were not killed, and then they were invited by Prince Gaozu to enter the court and crown prince Sasuke to preserve his position. Painters often use this theme to express those who are high and reclusive and can move from time to time. The picture depicts three old men playing chess for fun on the ground in the forest gap, and an old man on the side of the spring returning with a child to collect medicine. The author, Fa Mayuan, "big axe splitting", with indulgent and majestic pen and ink, created a quiet and fairyland-like residence for Sihao, setting off their character of going to danger and safety and hiding in self-sufficiency. The Qing Dynasty painter Ren Yi's "Ear Washing Diagram" depicts the story of Xu You's refusal to give way to Emperor Yao and wash his ears with water, showing the ancient hermit's behavior of not admiring power and self-improvement.
The second unit of the exhibition is "Yanju Youxing". Curators believe that after the Wei and Jin dynasties, the connotation of "seclusion" changed, compared with the spirit of reclusiveness in the ancient period, there was a concept of "big hidden in the dynasty, hidden in the city, and small hidden in the wild". More literati are mostly wandering between outlets and places, building gardens and secluded residences, and enjoying many conveniences of life in the urban mountains and forests, but also away from the clamor of the political arena. They wrote books and lectures, collected collections of literature and meetings, tuned the piano and chanted the moon, enjoyed flowers and tea, and appreciated ancient paintings... As a result, a large number of works depicting this kind of life have also been produced in history, such as "Lanting Xiu", "Huichang Jiulao", "Xiyuan Yaji", etc., which, together with related literary works, have become enduring classic paintings in the history of painting, providing unlimited imagination space and aesthetic experience for painters and connoisseurs of past generations.
This part begins with the Yuan Dynasty painter Wang Zhenpeng's "Boya Drum and Qintu", and the exhibits tell the changes in the connotation of "seclusion" through the different subjects of painting, as well as depict the relevant lives of the Literary and Humanistic Association, the Tuning of the Qin Yinyue and other related lives. Wang Zhenpeng was a famous painter in the Yuan Dynasty, who was also good at Buddha statues and figures, and could come out of the machine with Li Gonglin, accurately grasping the image of the characters and portraying them vividly. During the Spring and Autumn Period, Boya was good at drums and pianos and was highly skilled. Bo Ya and Zhong Zi became confidants because of the piano. After the death of the child, Bo Ya was sad and destroyed the piano, believing that the world was no longer ignorant of the sound, and would no longer play the piano. The Boya drum and piano has become the subject of paintings of successive generations of painters to express their understanding and sympathy. This painting uses a white painting method, Boya and Ziqi are sitting on the stone, and there are three children on the screen, the picture concept is simple and ingenious, there is no other decoration except for a few furnaces, reflecting the high artistic level and the interest of the literati, and is a masterpiece of character painting in the Yuan Dynasty.
The "Liulitang Character Picture" of the five generations of painter Zhou Wenjie is painted by the "Liulitang" YaWu Dynasty. There is an account of the "Liulitang" poetry society in history: the Tang Dynasty poet Wang Changling once built the Liulitang and invited the Cen Brothers and other literati to give poetry to the literary and elegant collection. Zhou Wenju was active in the Southern Tang Dynasty, good at painting, capable of all disciplines, especially good at characters and ladies, good at depicting prosperous and rich aristocratic life scenes, and paying attention to the portrayal of different identity figures. There is no author's print on this canvas, because the five characters of the Song Huizong inscription "Han Di Wen Yuan Tu" in the upper left corner of this frame have been rumored to have been made by Tang Han. The characters on the screen are clear and vivid, and the picture set is concise, only the elegant turquoise and grass are used to set off the noble character of the scribes. The painter uses a unique "battle brush stroke" to outline the character's clothing pattern, the brushwork is exquisite and fluent, the color is light, and the style is elegant, which can be called the best work of five generations of figure painting.
Emperor Huizong of song was a well-rounded artist, specializing in the arts of lexicography, calligraphy and painting, vocal singing, and blowing bombs. The "Listening to the Piano Diagram" in this exhibition depicts the scene of him and the courtier Cai Jing and others tuning the piano and enjoying the music, which is a more realistic reflection of the court life at that time. In the picture, the set is quiet and peaceful, the pines are hanging down, the bamboo shadows are whimsical, the cigarettes are smoked, the middle road is slightly bearded, and the person sitting on the piano is Zhao Yao, who calls himself "Emperor Daojun", and the two courtiers each sit and listen in green and crimson robes. The character image is dignified, the mood portrayal is exquisite and subtle, and the spirit is vibrant. The lines are mainly "iron line drawing", with colorful brush strokes, delicate and uniform, and the color is calm and calm, rich in contrast and mutual contrast, which represents the superb artistic level of heavy color figure painting in the late Northern Song Dynasty. The Song Dynasty's "Huichang Jiulaotu" volume depicts the Tang Dynasty poet Bai Juyi, who was jealous of the magnates because of his outspokenness about the government, so he abandoned the official and returned to Xiangshan and called himself a resident of Xiangshan. In his home in Luoyang, he formed the "Nine Elders Society" with hu gao, Ji Min, Zheng Zhao, Liu Zhen, Lu Zhen, Zhang Hun, Di Jianmo, and Lu Zhen, who were old but not famous and wealthy, and asked the painter to draw a commemoration. Later generations admired its elegance and often used this theme to express the literati's evasion of politics and advocating the idea of seclusion. By depicting the old people listening to the piano, playing chess, chanting poems, watching paintings and other elegant things, the painter expresses their self-willing and indisputable spiritual world. The scroll of Wang Zhongyu's "Portrait of Tao Yuanming" in this exhibition is the full text of the famous poem "Returning to the Word" given by the famous poet Tao Yuanming of the Eastern Jin Dynasty. The lower part depicts a portrait of Tao Yuanming, holding a long scroll, looking into the distance, and the wide sleeves of the robe flutter with the wind, and the image is elegant and ethereal. The portrait is painted in white, mainly in light ink, in which thick ink is occasionally applied. The facial features are outlined in thin lines, depicting the calm and serene appearance of the characters. The striped lines are alternately used in the center and flanks, which has a gentle and smooth trend. The work uses minimalist brushwork and composition to show Tao Yuanming's happy demeanor after resigning from the government and returning to the unofficial, and the extraordinary temperament of a generation of celebrities.
After the fall of the Two Song Dynasties, literati painting rose and became the mainstream of the painting world. In addition to the function of exhorting and educating and expounding religion, the painter depicts the stories of the sages in literary works, or records the life scenes of Chinese people in real life, in order to highlight their noble sentiments of indifferent fame and fortune, and their timeless and exquisite taste of life. At the same time, it also pins on the author's admiration for the sages and yearning for freedom. After the Yuan Dynasty, due to the maturity and prosperity of landscape painting and the influence of its aesthetic orientation, such works not only pay attention to the spiritual temperament of the characters, but also emphasize the depiction and foil of landscape and garden background, and the combination of figure painting and landscape painting is more close, and gradually degenerates into the embellishment and appendage of landscape. The special character story paintings not only inherit the strict and exquisite painting style of the two Song Dynasties, but also many works with elegant brushstrokes and leisurely styles, which have become an important carrier for people to send, give and enjoy. Finally, in conjunction with the exhibition, the Forbidden City also published a catalogue of "LinXia Fengya" with the exhibition, and arranged and included 54 paintings according to the content of the original exhibition. At the same time, there are also expert papers of the Forbidden City entitled "The Development Process of Ancient Character Story Paintings from the Collection of the Forbidden City" and "Ancient Chinese "Gao Shi Tu" and Its Derivation", which are suitable for reading and appreciation as popular reading books, and provide reference materials for professionals to study and study.
(Photo according to the Palace Museum)