Introduction: At the end of the Ming Dynasty and the beginning of the Qing Dynasty, social turmoil, the Guyi School and the Xin'an School of Painting headed by Xiao Yuncong became another peak of literati painting after the Song and Yuan Dynasties. Xiao Yuncong wrote his love for the Ming Dynasty and noble national integrity with a reclusive feeling and a clean style.
Chinese painting has a long history, starting from Gu Kaizhi's "Painting Yuntai Mountain" in the Eastern Jin Dynasty and Zong Bing's "Painting Landscape narrative" in the Southern Dynasty, and has developed over thousands of years. Painting genres have also been formed continuously, and the styles of painting in the north and south are different and unique. Painting science and practice lead the way, constituting a long historical river for the splendid development of Chinese painting.
"Landscape Album"
At the turn of the Ming and Qing dynasties, Chinese painting was divided into standards, one for the Ancient School and the other for the Innovative School.
Painters of the Ancient School, represented by the "Four Kings", inherit the mantle of Dong Qichang's thought and operate the beauty of pen and ink;
The painters of the innovative school were mostly concentrated in southern Anhui, and there were the Guyi school headed by Xiao Yuncong, the Xin'an school represented by Gradualjiang, and the Xuancheng school with Mei Qing as the leader.
These painters of the school, as recipients of Confucian culture, were ruled by foreign nationalities due to the change of dynasties, so that their original ideals were completely destroyed, or they entered the Qing Dynasty, or fled to the mountains and forests, sending love with poetry and painting, and finding peace of mind.
Xiao Yuncong of the Guyi Sect was one of the representative figures.
<h1 class="pgc-h-arrow-right" data-track="16" > paintings of the world's highest people, singing the sound of landscapes and rivers, and printing the feelings of the people</h1>
Xiao Yuncong, the word ruler wood, the number of meditation, the number of the lake fisherman, Zhongshan Meixia, Jiang Mei, Meishi Daoren, Mei Master, Wu Bored Daoren, East China Sea Xiaosheng, Menglu, Zhongshan Old Man, etc., a lifetime like its number, Zhijian high quality. When he died of illness at the age of 74, he still took his comrade's hand and said: "The Tao is in the Six Classics, the five luns of the book, and there is nothing to ask for, but still derive its purpose." ”
Xiao Yun wanted to take the road of entering the WTO from his youth, but he has been repeatedly unable to do so. It was not until the age of 44 that he was admitted as a quasi-gong student, which is equivalent to a college student who is now admitted with a reduced score. Only later, I didn't know what went wrong, not only did he not get ahead, but he fell behind Sun Shan, and the loss in his heart can be imagined.
Soon after the fall of the Ming Dynasty, the Qing army invaded Wuhu. Xiao Yun came to Gaochun from avoiding the soldiers. The pain of the subjugation of the country and the trauma of the war directly affected Yuncong's spirit and life, and in the autumn of the fourth year of Shunzhi, 52-year-old Xiao Yun returned to his hometown from Gaochun, seeing that the former residence "Meizhu" had become a Qing army horse circle, he was full of emotions and wrote six "Migration Poems". His poems touch the scene and are sad and sad.
Later, at the request of Zhang Wanxuan, he created the "Taiping Landscape Map". Although the characters in these forty-three Taiping landscapes are all high-ranking people in the world, and the inscriptions are all landscapes and clear sounds, his relics complex is tenaciously expressed through the seals he paints.
For example, the fifth painting is printed "Liang Wangsun", the thirty-fifth painting is "Xiao Tianzi Descendants", the thirty-third painting is "Enduring Humiliation of King Kong", and the thirty-sixth painting is "Servant Ben Hates People", this insult and hatred, the clear-eyed people know at a glance, what he can't forget is the hatred of destroying the family and the humiliation of the subjugation of the country. This is Xiao Yuncong's national integrity.
He did not cooperate with the Qing court, did not associate with The Qing court officials, and avoided and did not paint for the Qing officials who had lost their national integrity. However, he is like a brother to the literati painters with national integrity and patriotic ideas.
Throughout Xiao Yun's life, during the period of great social turmoil in the late Ming and early Qing dynasties, the pain of his subjugation and the trauma of war can be described as unforgettable. The humiliation of changing dynasties became Xiao Yun's painful memories from his life. As a Ming remnant, the idea of hostility to foreign nationalities accompanied him all his life; as a poet and painter, this complex of his was reflected in his works.
<h1 class="pgc-h-arrow-right" data-track="60" > "Spring Island Strange Tree Map", Xiao Yun hid from the heart</h1>
On the eve of the Qing army's entry into the customs, Xiao Yun was in the middle of the chaos, and at this time he had the idea of seclusion. "Spring Island Strange Tree", this painting with the theme of The Immortal Mountain, is the imaginary hiding place he built for himself.
Part of "Spring Island Strange Tree Map"
Although Xiao Yun's earlier paintings were mostly in the style of Nanzong literati paintings, mainly taught by Dong Yuan, Ju Ran, Huang Gongwang and others, the "Strange Tree Map of Spring Island" changed the appearance of traditional literati paintings:
This picture depicts half of the immortal mountain on the surface of the water, the main peak stands in the middle of the picture, the right side of the peak has a liquan pouring down, the buildings loom in the mist, and the nearby water bank has a bush of Jia trees, in the middle of which is a long pine, towering, pointing directly to the peak, and below it is a strange stone in the house, and the vines and roses are wrapped around the bed.
The tree stones are exquisitely crafted with pens, and the tree method is quite Song personality, but the shape of the mountain stone is very peculiar, the shape of the rock ravine is vertical and vertical, the mountain peaks are stacked and escape from the common sense, and the structural layer theory is visible, which is very different from the form of natural mountain stones.
Looking at the content depicted in this map, it is quite interesting to the Song Dynasty Xianshan Pavilion Diagram, but although the traditional Xianshan Diagram has a geometric tendency of the mountain stone structure, it is not as strange and exaggerated as the shape of the mountain stone in this figure.
Part of "Autumn Mountain Travel Map"
The dyeing technique is even more unusual: the tree stones are outlined in thin lines and clearly outlined. The inner side of the mountain stone has a circle of white space along the contour line, and the outer side of the adjacent mountain stone rubs the contour line, and the inner white space forms a strong black and white relationship with the outer side of the stone, which can highlight the shape and outline of the mountain stone.
The pen of the figure method is not very clear, it is a straight pen dry wipe, and the rubbing is mostly vertical and horizontal. After the painter dry wipes the straight brush, combined with the blending, and then applies a small amount of moss, so that the black and white contrast of the picture is particularly eye-catching.
This method of "Spring Island Strange Tree Diagram" seems to be close to the Song people's axe splitting, but in fact it is fundamentally different from the axe splitting. The axe splitter is a flanking pen, which is swept out obliquely after a slight pause, which shows obvious setbacks and changes in speed, that is, there is a strong sense of writing, such as the axe splitting in Ma Yuan's works. However, the method of "Spring Island Strange Tree Diagram" has no significant speed change, and it can also be said that there is no sense of time with the pen, that is, calligraphy.
While the calligraphy of the painting method is weakened, the rendering of the picture is emphasized as never before, through the color, color, ink or integration with dry wipes, or rendering instead of the method, the picture forms a resounding black and white layer, this strong black and white contrast beyond the traditional Song and Yuan landscape system visual effects.
"Stacked Trees"
In addition, the mountain stones of "Spring Island Strange Tree Map" have also been transformed from imitation natural shapes into square, clear, linear contours and decorative and interesting shapes.
epilogue:
"Spring Island Strange Tree Diagram" is the earliest work seen by Xiao Yun from this kind of "no Song no Yuan" painting style, the method used is far from the traditional literati landscape painting, and it is difficult to find its formal tradition in early Chinese painting, but this kind of calligraphic method is quite convenient in the publication of prints. And this work happened to appear in the stage when Xiao Yun conceived and created "Leaving the Riot Map", was its intention related to the acceptance of the "Departure map" printmaking work at the beginning?
——END