Landscape painting occupies an important position in traditional Chinese culture and is unique in the world of painting.
It is painted with brush and ink, mineral pigments, rice paper or silk. It is hung in the hall and stored in the painting cabinet. Whether it is paper or silk, if it is carefully collected, it will not be destroyed for thousands of years, so the mountains and rivers in the painting stand together with the mountains and rivers outside the painting. And rushing, constitute the eternal cultural concept.
Chinese people love landscape paintings, and if they have the conditions, they should hang an authentic landscape painting. Once it is hung for a thousand years, it will become a cultural tradition.
We love mountains and rivers, and we have the cultural spirit of empathizing with them.
Western paintings also express landscape themes, using oil painting materials to create, but they are sketches, sketching is realism, the mountains they paint are mountains, and the water is water. They strive to be accurate, which reflects the similarities and differences between Eastern and Western cultures.
To read landscape painting, to understand Chinese landscape painting requires a certain level of Chinese culture.
When a landscape painting is hung up, people can read it. We often see some people standing in front of a painting for a long time, unwilling to leave, pondering and fascinated.
If there is a painting hanging at home, watch it every day, look at the artistic conception, look at the brush and ink, and do not get tired.
This is the charm of Chinese landscape painting. When you read it in a shallow way, you can read it deeply, and when you enter it, you will wander in the mind, and if you enter the mind, the soul will be united.
The origin of Chinese landscape painting can be traced back to the four masters of Jing Hao, Dong Yuan, Ju Ran and Guan Tong in the Five Dynasties. It is by no means that this is the starting point of Chinese landscape painting.
Some people say that before Jing, Dong, Ju, and Guan, Gu Kaizhi's "Luo Shen Fu Tu" in the Eastern Jin Dynasty has the performance of landscape painting.
From the perspective of Jing Hao's six elements, brush, ink, and scenery are intuitive phenomena, and qi, rhythm, and thinking are the embodiment of spirit. The breadth and depth of Chinese landscape painting lies in these six characters. Demonstrate spirituality.
Here, the mountain is not the mountain, but the momentum and grandeur in the mind; the water is not the water, but the surging and high-spiritedness in the heart, whether static or dynamic, all life is galloping.
Whether it is spring, summer, autumn or winter, the years are changing.
Chinese landscape painters use silent images to describe the world with sound. Here, the silent is better than the sound. This is the culture with Chinese characteristics.
Jing Hao left us "Kanglu Tu" and "Snow Landscape Landscape", together with the other three paintings, which should be the earliest landscape paintings in my country.
Each piece of work has a profound theoretical foundation, which shows that from the end of the Five Dynasties to the beginning of the Song Dynasty, Chinese landscape culture entered its heyday.
Jing Hao emphasized that the brush is not a tool, but the brushstroke in the painting. What he asked for was the expressiveness of the brush; the ink he said was not the material ink, but the ink that was entangled in the painting, with many ink colors. Change, and pour out the feelings of mountains and rivers in the change.
Mi Fu, a calligrapher and painter in the Northern Song Dynasty, commented on Guan Tong in the four schools, "the conception and construction of the environment are simple and simple, the image is clear, the work is in the situation of the Guanhe River, and the few peaks and mountains are delicate".
This is the modification of the landscape in the painting by cultural awareness.
Mi Fu also said that Guan Tong's use of the brush, "the simpler the brush, the stronger the air, the less the scene and the longer the meaning", this is the dialectics of artistic thinking, the eyes of traditional Chinese painters are not the screenshots of the scenery, but the frame. What to take and what to discard is up to one's will.
As soon as Chinese landscape painting appeared, it took on the charm and formed the atmosphere of Chinese culture.
Jing, Dong, Ju and Guan are the bridges linking the two dynasties of the Tang and Song dynasties, and their artistic ideas influenced a dynasty in the Northern Song Dynasty.
Li Cheng in the Northern Song Dynasty painting circle is one of the leaders, but he is not an imitator of the four great masters, and he has his own innovations on the premise of inheriting the fine traditions of his predecessors.
Comparing the two generations of painters, we can see that they both created panoramic landscapes in terms of layout, especially Guan Tong, whose paintings are steeped in the sky, compressing the extension of the scene in terms of width.
Li Cheng's landscape maps always have a piece of sky left, and the blank space lengthens the sense of sight. Pushing the mountains away, the scene becomes wider.
Li Chengduo expresses the image of the cold forest in painting, and his works include "Cold Forest Picture", "Little Cold Forest Picture", "Maolin Yuanxiu Picture", "Cold Forest Fishing Boat Picture", "Qiao Song Pingyuan Picture" and so on.
Li Chengcheng is a descendant of the Tang clan. At the end of the Tang Dynasty, he fled to Shandong to avoid chaos. He was arrogant and cold, and he created a series of cold worlds for us in his pictures.
His brush and ink are simple, and people say that he "cherishes ink like gold", which is everyone's style of writing.
Fan Kuan was a landscape painter as famous as Li Cheng. He began to learn Li Cheng's brushwork, and gradually realized that a painter must have his own achievements, and he couldn't follow his predecessors and could not walk his own way. When I take things in close proximity, I am not like a teacher of all things. I am not like a teacher of all things.” What he means is that the teachings of the predecessors are nothing but a reflection of the surrounding things. , I study the methods of my predecessors, it is better to study the surrounding things; to study the surrounding things, I should see the spirituality of things.
This is the teacher's tradition and the teacher's creation summarized by later generations.
Fan Kuan's so-called "all things" are the mountains and rivers in his eyes.
He does not look at it in general, he wants to see the hearts of these mountains and rivers, so the mountains and rivers come alive in his heart, he writes his thoughts, and the mountains and rivers in his paintings also come alive.
An outstanding painter, only when his knowledge is improved, his artistic realm is improved, and only when his artistic realm is improved and his brush and ink have charm, he returns to the origin of "rhyme" in Jinghao's six-character formula.
With this understanding, Fan Kuan went deep into Zhongnan Mountain and had a dialogue with the mountains and rivers.
His paintings take a different approach, with majestic peaks and sound of waterfalls, his paintings are no longer empty mirrors, and travelers and pack horses are added to the mountains.
When the traveler enters the painting, it adds to the depth of the landscape. Looking at his paintings, some people commented, "It is like walking in the mountains. Although it is in the heat of the summer, the awe-inspiring and awe-inspiring make people feel anxious." "Brigade Map", "Snow Scenery and Cold Forest Map", "Snow Mountain Xiao Temple Map" and so on.
In the Song Dynasty, China's landscape culture was full of splendid beauty. The painter described the peaks and mountains, the clouds and waterfalls, and the rushing rivers. In fact, what he painted was emotion, and it was the cognition of an era.
The painters of Song Dynasty completed the artistic leap from sketching to creation, which is the cultural difference between Eastern landscape painting and Western landscape painting.
Landscape painting completed a gorgeous turn in the Yuan Dynasty, from magnificent to beautiful.
The change of painting style is the change of the painter's thinking. Taking Ni Yunlin, who led the painting style of the Yuan Dynasty as an example, he pursued a quiet environment in his paintings.
Yun Nantian, a calligrapher and painter in the late Ming and early Qing dynasties, commented that his landscape style was: "A real lonely place, and a little more convenient." Huang Gongwang was Yun Nantian's close friend, and his "Fuchun Mountain Residence" was also a school of loneliness, a thousand miles away. The mountains and rivers are in sight, no one is seen, the mountains are silent, and the water is still flowing.
Huang Gongwang boldly broke through the vertical scroll landscapes created by the Song people and changed them into banner paintings. The paintings have to be read section by section, and each section has its own splendor. .
Yuan Dynasty landscape painting went to a new level.
Realm is the epistemology of Chinese landscape painters in the past dynasties, which has led to the replacement of thinking, the transformation of composition, and the innovation of brushwork.
The concept of Yuanren painting is "no one", and it is quiet because of no one.
The painter of the same era came out with the clue: "The mountains are empty, the water flows and flowers bloom." There are people outside the "unmanned" in the painting, and there are people watching this "unmanned" world.
"No one" is not lifeless, isn't the flower blooming? It sounds quite Zen.
The landscape painters of Song and Yuan Dynasties have one thing in common. They never bring realistic drawings into their works. Their landscapes are landscapes in the mind, that is, they refine and filter the real landscapes through the mind to form the landscapes of the mind.
Seeing that a mountain is a mountain, that mountain is still a mountain; seeing that a mountain is not a mountain, that mountain is the culture of the mountain.
All of a sudden, the distance between the east and west landscape culture was widened.
When landscape painting entered the Ming and Qing dynasties, it showed a variety of artistic creation tendencies, some learned from the style of the Song Dynasty, and some from the Yuan Dynasty.
It is Dong Qichang who leads the painting circle of the Ming Dynasty. He not only inherited the painting style of the Song Dynasty, but also gave a majestic implication to the landscape. His brushwork followed Li Cheng's "cherishing ink", and he also introduced the Yuan people's concept of landscape and water in his creative practice. understand.
He is a native of Huating, Songjiang. He has been an official in the north, but he has traveled to the south of the Yangtze River all his life. He has a better understanding of the beauty of Jiangnan landscapes. Therefore, while creating a large number of shallow and crimson landscapes, he also incorporates azurite and stone green into his paintings, creating a blue-green landscape. .
Dong Qichang created mountain peaks with his brush strokes and created a boneless style, so there are mountain colors, water colors and cloud colors in his paintings, and he became the leader of the Huating School of landscapes.
Dong Qichang joined hands with Shen Zhou, Xu Wei, and Wen Zhengming to become the four masters of the Ming Dynasty. Shen Zhou was also a successor of the Song and Yuan landscapes.
Zhu Da is a bridge that spanned the Ming and Qing dynasties. His landscapes are simple. When he draws two stones, it means that the peaks rise; when he draws two masts and sails, it shows that the river is boundless.
He is not realistic, but freehand, raising the expressive power of brush and ink to a new level.
After Zhu Da, the Qing people's landscapes were rich in brush and ink and magnificent in color. Although the mountains were high and soft, and the waters were long and gentle, pedestrians, elegant scholars, woodcutters, and idlers were added to the paintings. A sense of life in landscape painting.
During the Qianlong period, the painter Zhou Li had a picture of "Everyone is Happy". He painted two boys sitting on the roots of an ancient pine, the pine branches reflecting the moon, the trees and pine trees luxuriant, and the misty atmosphere. Drawings that complement the characters.
Shanshui culture has moved to a new height.
At the same time, the way of expression of landscape painting is also changing. On the basis of inheriting the traditional pattern, it abandons the old compositional ideas, changes the method of mountain cracking, and the formula of tree painting, and carries out a series of bold innovations.
Since the Qing Dynasty, landscape painting has been created and judged according to the concept framed by the "Music of the Mustard Seed Garden", which was created by Li Yu, a writer during the Kangxi period, who gathered the famous painters of the dynasty to summarize the techniques of the famous masters of the previous generation, and became the master of the techniques.
The editor-in-chief Shen Xinyou is Li Yu's son-in-law. Li Yu wrote the preface himself after the compilation was finalized. He said at the beginning, "Today people love real mountains and painting landscapes. The green trees want to flow, the sound of the spring is like answering, sometimes the smoke and clouds are dark, and sometimes the scenery is peaceful, as if you are in a hill and a ravine, you don’t have to use wax sandals to support the scorpion, you just have the pleasure of climbing.” The painting book was published in the mustard garden of Li Yu’s villa, so it is garden name.
Among them, there are more than 70 kinds of stone methods, such as the big axe method, the small axe method, the lotus leaf method, the folding belt method, the hemp method, the Jing Haoguan method, the Xia Gui method, the Ma Yuan method and so on. Known as "an indelible wonder book", as everyone knows, these dharmas are also inherited, carried forward and created by predecessors.
The road of innovation is always the only way to carry forward the tradition. Only new techniques are the necessary conditions for expressing new landscape ideas. Modern landscapes retain the characteristics of "potential as the core". The exciting human passion has formed the people's landscape culture.
Sun Baoyuan