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Liang Kai's "Splash Ink Immortal Figure"
The originator of splashed ink figure painting: splash ink and Zen
"Splashing Ink Immortal Figure" is a representative work of Liang Kai's reduced strokes, which depicts the drunken state of the immortals walking in a relaxed ink splashing method, and then exaggerates the intoxicated look with a sense of humor with a simple and thin brush. Liang Kai also became a model of great freehand that later generations of painters liked to follow. However, this so-called "splash of ink" is completely different from the "splash of ink" created by Zhang Daqian today.
Liang Kai, "Splashing Ink Immortals", 48.7x27.7cm Ink on paper, National Palace Museum, Taipei
Zhang Daqian splashed ink without a pen, but put the ink or pigment in the bowl, directly splashed the ink or pigment on the painting with his hand, and then appropriately guided it with a pen according to the traces of its natural formation. Liang Kai's splash of ink is first used to "dip ink method" in the thick pen full of thick, light ink that has not been completely mixed, and then with the pen in hand, according to the program, quickly apply vertical smearing on the painting, so that the remaining thick and light ink color naturally penetrates, like ink spilling, but leaving the trajectory of the pen.
Strictly speaking, Liang Kai's splashing ink is caused by the use of a pen, which has the meaning of splashing ink, and there is no splashing of ink. This kind of expressive and extremely difficult painting technique has been highly respected by generations, and countless painters have been worshipping The Saint Ming, the Ming Dynasty, the Qing Dynasty, the Jinnong, and even now.
Song Liang Kai Loose Willow Jackdaw Picture Page Silk Coloring 26.4×24.2cm Collection of the Palace Museum
The production of the "Splash Ink Immortal Figure" is inseparable from the prevalence of Zen Buddhism in the Southern Song Dynasty. This icon is titled after posterity, and judging from the image of its big head and bulging abdomen, it is a bit like the cloth bag monk believed in by the people at that time; the description of its spiritual posture is a bit like that of the Ji Qiang monk at the same time as Liang Kai.
This diagram not only embodies Zen thought, but is also an inevitable product of the Southern Song Dynasty in which Liang Kai lived. From another point of view, it also fully reflects Liang Kai's bold innovation spirit of the figure painting system. From this, it is not difficult to find out why the paintings of the Southern Song Dynasty and Liang Kai were sought after in Japan.
Southern Song Dynasty Liang Kai cloth bag monk picture page
Liang Kaiqiren
Liang Kai , who was active in the early thirteenth century , date of birth and death unknown , was a native of the Southern Song Dynasty , whose ancestral home was Shandong , and who lived in Qiantang ( present-day Hangzhou ) after crossing the southern border. He was a great calligrapher of China and Japan, who served as the most senior court painter in the Southern Song Dynasty Ningzong, and the emperor specially gave him the highest honor golden belt, but Liang Kai did not accept it, hung the gold belt in the courtyard, and drifted away, not wanting to be subject to others at all.
He was a painter with a very special personality, good at painting landscapes, Buddhist taoism, ghosts and gods, teaching Fa Jia Shi Gu, and being blue out of the blue. He likes to drink alcohol, and his behavior after drinking is informal, and he is known as "Liang Feng (crazy) son". Liang Kai's works include "Six Ancestral Bamboo Drawings", "Li Baixing YinTu", "Splash Ink Immortal Diagram", etc., but the "Splash Ink Immortal Diagram" is the most famous.
Song Liang Kai Cloth Bag Monk Figure Silk Color 82×33.2cm Collection of the Xiangxue Museum of Art, Japan
Painting the bust of the cloth bag monk, the composition is concise and powerful, the pen is concise and extensive, especially the cloth bag monk's robe is the most prominent, a few strokes, the look is vivid, as if painting the mountain stone as majestic and powerful, but also does not lose the soft and casual of the robe, full of penmanship, heavy ink rendering.
If you remove the upper body of the budai monk without looking, its composition seems to be a majestic distant mountain, steady and broad, and when the round skull of the cloth bag monk is large, it turns to the use of fine and smooth brushwork, drawing eyebrows, lips and teeth with a work pen, smiling, and its indifferent and laughing demeanor is vividly expressed, although there is a cynical attitude, but it also shows the other side of its generosity, benevolence, compassion, and compassion, which is also a portrayal of Liang Kai's attitude towards the world.
Liang Kai Rokuzu Tearing Scripture Drawing Ink and Pencil on Paper 70× 30.3cm Mitsui Memorial Museum of Art, Japan
Southern Song Dynasty Liang Kai Liuzu Axe Bamboo Drawing Ink and Ink on Paper 73×31.8 cm Collection of the Tokyo National Museum, Japan
The picture depicts the six ancestors of Zen Buddhism crouching with a sword and cutting bamboo. The Six Patriarchs were the Tang monk Huineng, the founder of the Southern Sect of Zen Buddhism, who advocated the Method of Epiphany. The painter paints the characters with refreshing folded reeds, with few pens and the shape of the gods, and only slightly tickles the eyebrows, noses and ears, although the figures are silhouettes, and the focused and free look jumps on the paper.
The trunk behind the character is directly used to fly white light ink, and there is no dyeing, and the bamboo is not double hooked. The whole picture was slightly sloppy with brush strokes, which was a bold innovation at that time, enriched the expression of figure painting, and had a certain impact on the creation of figure painting in later generations. On the left side of the frame, the word "Liang Kai" is signed.
Southern Song Dynasty Liang Kai Taibai Xingyin Drawings Ink Pen 81.2×30.4 cm Collection of tokyo national museum
"Taibai Xing Yin Tu" is one of liang Kai's representative works of character painting. In just a few strokes, the charm of the "poetry immortal" that is flowing and full of talent is exquisitely sketched. The painter does not stick to trivial details, but highlights the personality characteristics of the poet, selects the instantaneous movements that best reflect the poet's mental state and thoughts and emotions, and describes them roughly.
Although it is a sloppy brush, it is concise and concise, with one as ten, without any sculpting. The embodiment of the character charm has reached a new height. After the transformation of the figure painting from Liang Kai, it entered the level of freehand from the transmission of the gods, proud and forgetful, and the painter's spiritual creation obtained a greater space.
Southern Song Dynasty Liang Kai Shakya Out of the Mountain Scroll Silk Color 119×52 cm Hinohara Xuanzang, Japan
Shakya stood next to the dead tree in a single robe, his hands raised to his chest, his eyes looking down slightly, his face thin and his hair long. Although it was winter and the belt was fluttering in the cold wind, Shakya did not seem to feel the cold, did not have the slightest state of freezing, but looked concentrated, and the more he entered the mountain after practicing enlightenment, his will was strong.
The painter paints the stacked clothes with strong lines, uses the pen to be rigorous, and is particularly good at portraying the character's expression; the dry branches of the canggan and the hardness of the pen are very good, which sets off the environment very well. The slope stone in the background is slightly outlined, and the painting method of the tree stone can also be seen to be influenced by Li Tang, which is a more craftsmanship painting compared with its legendary miniature figure painting. The stone wall on the left side of the painting is signed with the six characters of "Imperial Front Drawing Liang Kai".
Southern Song Dynasty Liang Kai Snow Landscape Map Tokyo National Museum Collection
Liang Kai's "Snow Landscape" is now in the Tokyo National Museum and has won the title of "National Treasure of Japan".
"Snow Landscape Map" is a masterpiece of Liang Kai's landscape painting, which depicts two donkey riders wearing white cloaks and snow hats walking through the valley. The two old trees on the right side of the picture, with their crooked branches and sparse leaves, are depicted by Liang Kai with meticulous brushwork. In the middle of the picture, the dense forest is painted with clusters of dots, while the mountain pen is less, and the sky rendered in light ink gives people a feeling of snow, and the whole picture presents a desolate and desolate atmosphere, which can be called the classic of the Landscape Painting of the Southern Song Dynasty.
The Tokyo National Museum describes the painting as follows: "The work shows the huge landscape space unique to the desert against the background of the snowy mountains, and the tiny presence of donkey riders and geese is also delicately expressed, which can be described as a masterpiece that shows that Liang Kai is also good at precision painting style."
In the middle of the fourteenth century, the Ashikaga family, the shogun of the Muromachi shogunate who ruled Japan at that time, was so fond of Chinese art that the monks traveling between China and Japan collected a large number of works of art and calligraphy in China to dedicate to General Ashikaga, including many authentic works of Liang Kai, including the "Snow Landscape Map" and many other authentic works of Liang Kai. After the "Snow Landscape Map" was transmitted to Japan, it was first accepted as the "Higashiyama Imperial Relic" of the Ashikaga Shogun's family, and was appreciated in groups of three, and the middle of which was "Deyama ShakyaTu" (Higashiyama Imperial Treasure refers to the tea props that General Ashikaga Yoshimasa evaluated and collected at Higashiyama Villa in beide). It was collected by the Sakai and Mitsui families of the Kohama Domain in Wakasa (present-day Fukui Prefecture), and was finally purchased by the Tokyo National Museum in 1948 and designated as a national treasure in 1951.
Southern Song Dynasty Liang Kai Sangao Tour Appreciation Page 26× 25.2cm Collection of the Palace Museum
The story diagram of the eight monks consists of eight paragraphs, each of which is 26.6 centimeters long and about 64 centimeters in width. The relics of the 8 senior monks from the Southern and Northern Dynasties to the Tang Dynasty are depicted separately. On the trees, stones and hulls of the second, third, fifth and eighth sections of the figure, the author's fine letters signed "Liang Kai" are signed paragraph by paragraph, and after each picture, the story of the poster book is attached. Figure 1 "Dharma Face Wall, Divine Light Reference"; Figure 2 "Hongjin Tong Body, Dao Feng Cane"; Figure 3 "Bai Ju Yi Gong Guru • Bird FingerIng"; Figure 4 "Wisdom Idle Broom and Hui Hui Bamboo Forest"; Figure 5 "Li Yuanyuanze Boat and Woman Walking"; Figure 6 "Guanxi Sog drinking and tong zi Fang Ji"; Figure 7 "A corner of the restaurant • Louzi Visiting"; Figure 8 "Lonely Peng Lu'an • Monk Leaning On the Fishing Cart". The vivid characters of the scroll and the neat and bold brushwork are Liang Kai's early works.
This volume was once collected by the Qing Dynasty court, and the compilers of the "Secret Hall Zhulin Continuation" were neglected to investigate, and did not notice the small characters of Liang Kai hidden in tree trunks, stone surfaces and ship hulls, which were mistaken for "Song people without money paintings". After identification, it is indeed liang kai's authentic handwriting, which has been correctly named Liang Kai's "Eight High Monks Story Map" volume.
Figure 1 "Dharma Face Wall, Divine Light Reference" Silk Coloring Size: 26.6 × 64.1 cm
This picture shows the story of the second ancestor god Guang Lixue who broke his arm to worship The Ancestor of Dharma: the monk Guang Wenda grinds Shaolin, but he is respectful, and the master sits and does not hear the encouragement. Guang Yue: "Can the Seals of the Buddhas be heard?" The Master said, "The Buddhas seal the Dharma bandits from people." Guang Yue: "My heart is not at peace with The Beggar and Ann." The Master said, "Bring your heart to Ruan!" Guang Yue: "Negative heart, can not be obtained." The master said, "Rest assured with Ru An!" ”
Figure 2 "Hiroshi Boy Body, Dao Feng Cane" Silk ColorIng Size: 26.6 × 66.4 cm
When Hirohito was seven years old, he was met by Daoxin, who was revered as the fourth ancestor of Zen Buddhism, and Daoxin sighed: "This extraordinary child is also........... Twenty years from now, he will do great things for the Buddha." So he sent someone to follow him home and asked his parents for advice on whether he could be ordained as a disciple of Daoxin. His parents readily agreed, saying, "Zen Master Dharma Dragon, the light is far away." The door is handsome, and the returnees are like clouds. Isn't that a little frightening, that can be beaten? If it is heavy, it is not stingy" because it is not stingy." In this way, Hiroshi was taken to the Twin Peaks Mountain (aka Broken Head Mountain) dojo presided over by Daoxin.
Figure 3 "Bai Juyi Arch Gurudwara Bird Fingering" Silk Color size: 26.6 × 64.7 cm
The story is that the Tang Dynasty Daolin Zen master passed on the Dharma to Hangzhou, and when he saw that there were long pines and lush foliage in the Qinwang Mountains in the south of the city, he built a tree and perched on the Shangshan Zen, and people called him the Bird Zen Master. In the second year of Changqing (822), Bai Juyi was appointed as the Assassin of Hangzhou, and In the name of Mu Daolin, he entered the mountain to worship, and he saw Daolin and asked, "How is the Dharma carelessness?" The Zen master replied, "There is no evil to be done, but all good is to be done." Bai Juyi said: "The three-year-old child also understands the Tao (also knows how to say so)." The Zen master said, "Although a three-year-old child can do it, the eighty-year-old man cannot do it." Bai Juyi had an epiphany and retreated. This is a famous Zen master's argument that preaches Buddhism's idea of promoting good and suppressing evil.
Figure 4 "Wisdom Leisure Broom and Hui Hui Bamboo Forest" Silk Color Size: 26.6 × 64.7 cm
Zen Master Baizhang Huaihai was still alive to teach the Fa, and Zen Master Zhixian personally went to study. Zen masters are intelligent and know a lot of catechism. Whenever he asked, he could talk about it, but he did not understand his duty. Later, when Master Hyakujo zen master died, he changed his name to master brother Lingyou Zen master. Zen Master Fushan asked, "I smelled that Ru was at the hundred zhangxian master, asking one answer ten, asking ten answers to one hundred." This is the basis of Ru's wisdom and spirituality, understanding and thinking, and life and death. When the parents are not born, try to say a word. Zen Master Zhixian was confused by this question from Zen Master Fushan.
Fig. 5 "Li Yuanyuanze Tied Boats and Women's Travels" Color on silk Size: 26.6 × 67.1 cm
After returning to the squatter's room, he took out all the scriptures he had read in his daily life, and looked them up one by one from the beginning to the end, hoping to find a suitable answer from them, but after a few days of reading, he found nothing. Zen Master Zhixian sighed, "Don't fill your hunger when painting bread." So he repeatedly went to the abbot's room and begged Zen Master Fushan to break it for him, but he was refused by Zen Master Fushan. Zen Master Fushan said, "If I say that ru is like Ru, Ru will scold me later."" I said that the bottom is my bottom, and I will not do anything in the end. ”
In desperation, Zen Master Zhixian burned the words he had read in the past and said, "In this life, I will not learn the Dharma, and I will be a long-distance porridge monk, and I will be free from the mind." Zen Master Zhi xian cried goodbye to the mountain and began to walk around. One day, he came to the former site of Zen master Huizhong in Nanyang. After witnessing the ruins of the Hui ZhongguoShi Dojo, he thought that this place was quite good, so he decided to live here and clean it up.
One day, Zen Master Zhixian was weeding the grass and trees, and without a sound, he threw up a piece of rubble, which happened to hit the bamboo, making a crisp sound, and he suddenly realized. So he hurried back indoors, bathed in incense, and saluted the mountain in a remote way, exclaiming, "The monk is merciful, and he is more kind than his parents." If I had said it then, what would be the matter of today? And made an ode: "One blow forgets what you know, and you don't practice falsely." Moving the ancient road, not falling quietly. There is no trace everywhere, and the sound and color are majestic. Those who have reached the tao, salty words on the machine. When Zen Master Yushan heard about this poem of Zen Master Zhixian, he said to Zen Master Yangshan, "This son Cheye." ”
Figure 6 "Guanxi Suo Drinking Boy Fang ji" Silk coloring Size: 26.6 × 61.9 cm
Li Yuan, a hermit of the Tang Dynasty, lived in Huilin Temple, and befriended the abbot Yuan Ze and became acquainted with each other. The two went to Emei Mountain in Sichuan to play, and Yuan Ze wanted to enter Sichuan by land from the north from Chang'an. At Li Yuan's insistence, the two entered the river from the Yangtze River waterway. On the way to the river met a pregnant woman who was three years pregnant. When Yuan Ze saw this pregnant woman, he cried, saying that he was reluctant to go on the water for this reason, because he was destined to be the woman's son, and when he met, he could not hide. He and Li Yuan met at the beginning of sanshengshi in Hangzhou 13 years later. That night, the garden passed silent, and the pregnant woman also gave birth smoothly. Thirteen years later, Li Yuan came to Sanshengshi as promised, and saw a shepherd boy singing "The old spirit on the Sanshengshi, the moon and the wind are not important; ashamed of the lovers visiting each other, although the opposite sex of this body lasts forever." Li Yuan recognized him, and the shepherd boy said that he was Yuan Ze, but the dust was not over, and he could not stay for a long time, singing: "There are many things in front of and behind him, and I want to talk about the cause and fear of breaking the intestines." Wu Yue has traveled all over the country, but he returned to the Smoke Tree on Qu Tang. "After singing, I left.
Guanxi Idle Zen Master Road every time a boy draws water. The teacher begged for water to drink, and the boy said: "Begging for water may as well, there is a question, and how dust is the water tool?" Shi Yun: "There is no dust." Tong Smiled and went away with the water, saying, "Don't drown the water." ”
Figure 7 "A Corner of the Restaurant, Visiting the Building" Silk Color Size: 26.6 × 57.9 cm
Louzi monk Name Shan, a native of Jinpingjiang, surnamed Yang. The first waves are in the market. One day, the monks in the building walked on their feet and happened to pass by a street market. Under a restaurant, he found that his sock belt was loose, so he stopped and bent down to tidy up the garter belt. Suddenly, I heard the bridesmaid singing from the restaurant, singing: "... You have no heart nor do I..." The monk of louzi listened and suddenly realized. Therefore, everyone is called a louzi monk.
Fig. 8 "Lonely Peng Lu'an Monk Leaning Fishing Cart" Silk Color Size: 26.6 × 66.2 cm
Southern Song Dynasty Liang Kai Dead Wood Waterbird Picture Page Collection of cleveland Museum of Art, USA
Fuzhou Xuansha Master Beizong Yi Zen Master, Xuefeng Yicun Zen Master's Dharma Heir, commonly known as Xie, Fujian people. When he was a teenager, he liked to fish, and every day he took a boat on the Nantai River and played games with the fishermen on the river. In the early years of Tang Xiantong (860), Shi Bei was just thirty years old. Recalling this previous period of life, he suddenly had a strong desire to become a monk, so he abandoned the boat and threw himself into the Seat of the Zen Master of the Furong Spirit Training, and was taught by Brother Gu Ren to see the snow peak.
Southern Song Dynasty Liang Kai Liuxi Lying Flute Chart Page Collection of the Palace Museum
Feng Yi said, "Why didn't Bi tou Tuo make up Gong Zhi?" The master said: "Dharma does not come to the Eastern Soil erzu and does not go." The Master of the Western Heavenly Peak Ran tasted to show the public, there was a straight like the shadow of the moon in the autumn pond, the quiet night bells were easy to send, and the waves were not scattered, especially the matter of life and death. The Road side burns with ice.