The reason for the creation of landscape painting?

Chinese landscape painting is abbreviated as "Shanshui". The natural landscape of mountains and rivers as the main object of depiction of Chinese painting. Formed in the Wei, Jin and North and South Dynasties, but not yet completely separated from the figure painting. In the Sui and Tang dynasties, it became independent, and in the Five Dynasties and the Northern Song Dynasty, it matured and became an important branch of Chinese painting. Traditionally, according to the style of painting, it is categorized into blue and green landscape, gold and blue landscape, ink landscape, light-red landscape, small blue and green landscape, and boneless landscape.

Origin

Chinese landscape painting is at least 1,000 years older than Western landscape painting. It is actually a history of Chinese thought. More than 7,000 years ago, the awakening of the ancestors was recorded in the form of patterns. The Neolithic Hemudu culture has already expressed the connotation of conceptual culture with line carvings, and the origin of the sedentary farming civilization has not only allowed people to recognize the beauty of tools, but also the beauty of form on top of tools. Art is not only a kind of conquest of nature's imagination, but also a symbol of conquest of nature's imagination. From the very beginning, the ancestors and nature have been living with art, and the discovery of logic and the appreciation of art have pushed people's eyes to make a Chinese pattern of the unity of man and nature from confusion to clarity. Since the Yangshao culture, the relationship between man and nature has been symbolic. The concepts of symmetry and movement in geometric decorative techniques have been clearly applied to the representation of space and time. Particularly moving is the Jiji-god worship picture. In the context of a nation based on agriculture, it has always been customary to worship the god Jikji. The relationship between the grain, the field, and man in this picture conveys a simple understanding of the meaning of life by our ancestors. On the basis of precipitating the cognition of the natural relationship between human beings and animals and plants, social consciousness became the most crucial origin of civilization. The Village Picture of the Cangyuan Culture depicts the understanding of "home" in the form of rock paintings of human beings settling down in farming. The most visually interesting part of this painting is the road connection centered on the village, as well as the gradient depth around the center of the front of the scenes such as escorting prisoners, driving animals, sacrificing to the sky, jumping to the gods, etc. The depth in the plane has been powerfully embodied in this painting. The relationship between man and nature, man and society, so mixed with the art of looking, and constantly deepen and develop.

Qin and Han Dynasty

To the Qin and Han Dynasties, depicting scenes of labor life, from the countryside to the imperial power, the palace mural became the mainstream of the era. This orientation of recognizing faith in the palace as a metaphor for the family room freed Chinese art from its primitive form. The ruling class scholarly culture began to dominate. The scholarly culture realized its separation from the vernacular culture. For landscape painting, this separation was profound. If we take a serious look at the Courtyard Picture of the Qufu stone carvings, we will be shocked by the creativity of its optical illusion. This is the art of two visual conflicts: under the premise of satisfying frontal parallax, the panning and tilting overlapping of the buildings constitute the main aspect of the contradiction, and the collision of the forces generated by the two different perspective laws gives the picture a surreal three-dimensional sense. It is interesting to note that Sage's artists used the overlapping perspective law of vertical and horizontal translation and overlapping, the line of sight has depth but does not disappear, and in the composite field of view, they can clash the two perspective laws of frontal and tilted in an artistic way. It should be said that this law is nearly two thousand years earlier than today's Western Cubism. As this book has said again and again, the wisdom of our ancestors can never be explained in a few words, as long as we are serious with scientific eyes into the minds of the sages, we will certainly find that the scriptural approach can tell us more and more. This kind of artistic touch composed by the conflict of visual forms can be experienced more richly in the ancient classics such as the "Spring Rain" of stone carvings, the "House Gate" and "Harvesting and Shooting" of picture bricks. A very obvious point is that, with the deepening of the relationship between human and nature, social awareness, people look at the way has also changed, from the concept of the image, decorative for the use of the primitive map, geometric map, evolved into the will for the image, the life for the use of the realm for the map of the classical map. The course of this look, the accumulation of recognition, the budding collection of the constituent elements of landscape painting, all laid the foundation for the introduction of landscape painting.

Wei-Jin landscape poetry

Experiencing the eternity of heaven and earth and the universe from the point of view of the individual life, and savoring the freedom of human beings in it, is the opening of Wei-Jin landscape poetry. The significance of Xie Ling Yun is that he focuses on the dependence of form in the self-consciousness of literature, and from the ontology of philosophy, he pursues the mysterious and distant God beyond reason. The real representative of Chinese landscape sentiment is Tao Qian. Tao's poetry is a philosophical profundity that transcends the metaphysical language. It does not give up the metaphysical poetry's realization of the cosmic ontology and the life ontology, and captures and embodies the essence and significance of such realization through a specific medium, turning them into a palpable thing. An artful creativity is to find shape in the intangible structures experienced firsthand. In Tao's poetry, landscape, grass and trees are the true meaning of deep feelings, the philosophy that embodies the Chinese spirit, the transcendence of things, and the calmness and neutrality.

The Establishment of Landscape Painting

Localization of Gu Kaizhi's Luoshen Fugu

Nowadays, it is said that Gu Kaizhi's Luoshen Fugu and the Lady's History are the most important examples of landscape paintings that have used the word "Establishment" to give a proper name to the paintings. In the analysis of such copies, we can see the peaks, stones, clouds, water, trees, the complexity of the performance. This artist, who "sent out what his predecessors had not sent out, and opened the way for his successors to learn from him," brought landscape to the stage of Chinese art for the first time, and his Record of Painting Yuntai Mountain can be considered the founding work of the theory of landscape painting. Although the title of the text centers on the story of Zhao Sheng's sacrifice of his life to follow his master, the environmental portion of the painting became a later view of Chinese landscape painting. The establishment of this template role stems from the following points: a . The mountain has a lighted surface, back shadow, water has a reflection, auspicious clouds can be an important view of the east and west, the water and sky "empty green" can be supported by the weather with the sun. b . According to the order of the east and west of the arrangement of the near and far peaks, to create a high and dangerous situation. c . The layout of the middle section emphasizes the "confrontation" of the situation, which has a relative significance. d . The east, west, and center sections of the mountain should be connected to the scroll by "compactness". In the upper third of the mountain, a clear air is made to divide it into two. The importance of Gu's theory lies in the fact that he proposed the linear shape of running clouds and flowing water, the overlapping form of bird's-eye view echo, and the spatial pattern of the three sections of the mountain and the three divisions. Known as the first Chinese theory of landscape painting is Song Zong Bing's Preface to Landscape Painting. Zong put forward the famous rule of perspective: "Vertical painting of three inches, when the height of a thousand blades; horizontal ink a few feet, the body of a hundred miles away." With Zong's contemporaries Wang Wei, is also the character of the gullies, he put forward in the "Narrative Painting", "look at the autumn clouds, God flying field; in the spring breeze, think of the vastness" of the pleasure, and "a tube of the pen, the body of the proposed Taixu; to judge the body of the shape, as much as the brightness of the inch of the eye" of the footage of the thousands of miles of said. The "one-pipe brush" is the body of Taixu; "the shape of the body is the brightness of the eyes". It can be said that, to the Wei and Jin Dynasty, the Chinese landscape painting far from its potential, close to its quality of the core belief has established a logical starting point, and the principle of spatial vision can be logically deepened.

Editing Green Landscape

Zhan Ziqi's Spring Tour

Titled by Emperor Huizong of the Song Dynasty, Zhan Ziqi's Spring Tour is a pioneering work of green landscape. This painting is presented Gu's pen vein, in the Six Dynasties ink hook color halo, based on the creation of the hook frame fill color heavy green, open Li's father and son green landscape school. The introduction of this painting marks the fact that landscape painting has become an independent painting discipline. Although there is much controversy in the academic circles about the author and the date, it does not hinder people's recognition of the first independent landscape painting work. The one who created the golden age of landscape painting was General Li, both big and small. Li Si Xun, who was then the General of Wuwei, marked a change in the method with "Pavilion of the River and Mountain", and his brushwork reached the divine state of "hearing the sound of water at night". His son Li Zhaodao "change the father's momentum, wonderful and over the". Two Li's green landscape can be said to create a hundred generations of influence, the history of painting, some people call the ancestor of the North Sect, followed by successive generations, Guo Xi, Fan Kuan, Liu Songnian, Li Tang, Ma Yuan, Xia Gui, Wang Jinqing, Wang Ximeng, Zhao Boju, Leng Qian, Qiu Ying and so on, and all draw influence from it. The origin of landscape painting led to significant changes in Chinese painting, forming a pattern of mainly landscape, alternating landscape, figures, flowers and birds. Although landscape painting had a late start, it has always been the main vein of Chinese aesthetics compared to figures, flowers and birds. This is a phenomenon particularly worth studying. Why? Here to give some basic knowledge:

Knowing the mountains and enjoying the water of the realm of consciousness

The origins of landscape painting is the historical integration of the Chinese painting of the unity of man and heaven, is to know the mountains and enjoying the water of the great idyllic view of the people's consciousness of the centralized embodiment. It can be said that the green landscape of the standard tree established an important tone of Chinese aesthetics: leisure and relaxation type of cultivation (to the Yuan when this perception became the benchmark for the establishment of the letter). In front of the everlasting mountains and flowing water, people savored the silence and calmness. The sages said that "Tao, reason, and nature" are all covered and realized in front of the mountains and water, so as to finally become the emotional nature. This kind of mountain as happiness, water as knowledge, empty as enlightenment, far as the spiritual establishment of consciousness, this kind of unity of heaven and mankind, the rounded consciousness of sorrow and happiness, can be expected, feasible, swim, live in the natural ideals, is a kind of spirit of the culture of the scholars, is the artistic embodiment of the philosophy of the life of the simplicity. Chinese philosophy has found a richer and more specific connotation in Chinese landscape.

Smaller and Larger Implications

One of the most important aesthetic propositions of classical China is that it is smaller and larger. In our classical analysis, we pointed out that the aesthetic character of going beyond the image and pursuing the meaning beyond the words, the sound beyond the strings, and the rhythm beyond the rhyme is the artistic understanding of the proposition of "the smaller, the bigger". In fact, this is the art of Chinese people to use a special optical illusion to examine the image. We have been saying that the law of the Chinese painting of a thousand miles is the artistic revelation of this proposition, which not only informs us of the philosophy, but also informs us of an extremely unique principle of perspective, which lets a person in a relatively stable overall situation to perceive the object and I as one and the elephant in the invisible a special kind of big image and big sound, if we say that the moving of the Chinese painting, the biggest cause is not more than this.

The Grammatical Rules of Disciplinary Expression

Any kind of painting, to be independent of art, must satisfy the requirements of complexity and richness in its grammatical structure. That is to say, as emphasized repeatedly in this book, the simplification of natural objects must be realized through the complex structure of optical illusion. The historical significance of green landscape is: on the one hand, it allows painting from the palace murals of the personnel for the use of religious doctrine freed, so that landscape no longer become the environment and accompaniment of the personnel patriarchal, and become the main spiritual support. On the other hand, it is the first time in the language of expression for the landscape painting set the rules of law, systematically in the composition, color, tree law, stone law, water law, brushwork, thesis on the establishment. It should be said that the systematic and academic knowledge of landscape painting from this time onwards has really entered into a broad and profound. Special mention of Wu Daozi's sparse landscape. There is a famous story that Wu Daozi accomplished a thousand miles of Jiangling in one day, while Li Sixun accomplished it in a few months. It shows that the sparse and dense body of landscape painting is very different in methodology. The sparse body is estimated to be the art of the marginal line (which may not yet have touched the whorl line). Since this type of painting is only due to legend and has not been seen in real life, it is inconceivable to me, who advocates serious looking rather than listening, and I can only leave speculation to the imaginative; all I can do is still to use my own eyes to see. When our eyes move to the Middle Tang Dynasty, two types of changes give rise to new perceptions of landscape painting: first, the aesthetic maturity of landscape poetry. Poetic aestheticians such as Wang Wei, Du Fu, Bai Juyi, and Yuan Zhen deepened the perception of poetic beauty (especially the poetic realm) from different perspectives, and the use of poetry in painting became an important aesthetic paradigm. First, the development of Zen aesthetics. Taoism has become an important ideological framework for the scholars, and in the process of realizing, the "Zen, mind, and senate" have become enlightened, and the use of Zen in painting has also become an important mode of setting up a realm. Once the poetic and Zen realms converge, the realm of the great image and the great sound of Chinese landscape painting comes into being. It should be said that Chinese landscape painting, which is a unique Taoist practice, has become a systematic ideological framework. The sparks of beauty and knowledge of Confucianism, Buddhism and Taoism can shine and rise in the context of Chinese landscape painting. The logic of Chinese landscape painting is able to evolve a new revolution in the collision of ideological sparks.