Zhejiang Culture Observation: What can we see in Song paintings?

　　Chinanews.com, Hangzhou, November 23rd, title: Zhejiang Cultural Observation: What can we see in Song paintings?

　　Reporter Tong Xiaoyu

　　In Zhejiang recently, there has been a burst of Song rhyme.

　　The opening of the Deoksugung Palace Ruins Museum in the Southern Song Dynasty presents the appearance of the ancient capital more than 800 years ago; the performance of the symphony sound and painting highlights the essence of the thousand-year-old elegance of the Song Dynasty; the Song Yun fashion show is a visual feast that travels through ancient and modern times.

　　In contrast, the "Song Painting Symposium" recently held in Hangzhou, Zhejiang Province is more like a master. Through the interpretation of a Song painting, laymen who "watch the excitement" can feel the "song painting" doorway".

　　What are the "doorways" in Song paintings?

The first is the rhyme of Song paintings.

　　The complete range of themes and exquisite techniques of Song paintings, together with Western Renaissance paintings, are revered as the visual symbols of the two great civilizations of the East and the West.

As for the height of Song paintings, they already had considerable confidence in the Song Dynasty, and they all believed that landscapes, flowers and birds surpassed their predecessors.

　　For example, in the landscape paintings of Ma Yuan, a painter of the Southern Song Dynasty, the objects are often concentrated in half or one corner of the picture.

This kind of composition broke the traditional "panoramic landscape" composition, and was called "horse corner" at that time.

Just like his "Picture of Banquet with Chinese Lanterns", one third is realistic, one third is virtual, and one third is blank.

If the blank space is removed, the artistic conception of this painting will disappear.

　　At this time, the silence is better than the sound, which is an important and distinctive achievement in the history of Chinese painting.

As the painter Huang Binhong said, the characteristics of Song Dynasty paintings reflect the consistent aesthetic character and value persistence of the Chinese nation, pointing directly to the source of the Chinese nation.

　　The second is the authenticity of Song paintings.

It is like ancient photography, hiding the fireworks and codes of the Song Dynasty.

　　Chen Ye, a researcher at the Zhejiang Academy of Social Sciences and a professor at Zhejiang University, gave an example. In Song paintings, you can see the life of villages, cities, women, and children in the Song Dynasty, and some even involve court life.

　　For example, Wang Shen's "Embroidered Dawn Mirror Picture" and Su Hanchen's "Pretty Makeup Lady Picture" all involve images of women facing the mirror.

Moreover, the women in the painting have a beautiful and thin appearance, which is completely different from the graceful and luxurious appearance of the Tang Dynasty. The description of Dongfeng Jianjian".

　　Zhang Zeduan, a painter of the Northern Song Dynasty, is well-known for his "Along the River During the Qingming Festival".

In the painting, there are restaurants and shops, ships and carriages, nobles and tourists, and buildings and pavilions. Among them, vendors, restaurants, teahouses, and inns occupy a lot of space, and there are also many female bosses. Soup" is a good example.

Behind it, it reflects the business environment of the Song Dynasty.

　　The third is the meaning of Song paintings.

　　Song paintings are not "white snow in spring", nor an independent existence separated from society.

No matter how elegant it is, it is also full of themes such as the country, the unity of the family and the country, and the livelihood of the people.

　　For example, in Li Tang's "Moxibustion Ai Tu", the worn patches on each person's body are clearly visible.

Some people say that this painting is to reflect the sufferings of the people.

Today we don't know Li Tang's original intention of painting this painting, but this scene reflects the suffering of the rural people at that time, full of human warmth.

　　For example, works such as "The Picture of the Four Generals of ZTE" and Zheng Sixiao's "Molan Picture", all kinds of thoughts are concentrated on the country's hatred and family sorrow, grief and indignation, and strong feelings, expressing the artist's concern for the current situation of the family and the country.

　　The reporter believes that what the painters depicted in the mountains, rivers, rivers, figures, flowers and birds is not only the scene of the times, but also the value of life.

The current interpretation of Song paintings is not only the decoding of China's excellent traditional cultural genes, but also the spiritual refinement of Chinese culture.

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