Sanqin Culture-Calligraphy Seal Painting Sculpture-Painting

Sanqin Culture-Calligraphy and Seal Painting and Sculpture-Painting

Shaanxi Neolithic painting is mainly reflected in the painting of colored pottery. From the Yangshao colored pottery geometric patterns, has shown the color of the sharp, simple, rhythmic smooth lines, as well as rhythm and other formal beauty. Especially in some of the figures, animals and other decorative patterns, more can be seen at the time of the "painter" (painted pottery artists) has used realistic techniques to express the social life and ideology at that time. Such as Xi'an half slope excavated painted in colored pottery pots in the human face fish pattern, can be called the Yangshao culture painting art masterpiece. Ink line outline simple, vivid image. The meaning of the academic community is still exploring, there are "totem", "sorcerer's mask" and so on more than ten kinds of views. Half-slope also unearthed a lot of frog pattern, deer pattern pottery, are very simple and generalized. In the Yangshao culture Jiangzhai site also unearthed for the painting of the stone inkstone, stone grinding rod, black pigment and water cups, etc., this is the earliest painting tools found so far in China, is the study of China's painting history of the important physical data.

Qin paintings of the investigation, we mainly through its mural remnants of realization. 1979 Xianyang third palace site unearthed a long scroll mural, its content can be divided into horse and carriage travel map, ceremonial map, architectural and botanical drawings, has a valuable historical value and artistic value. Horses and carts traveling in the picture can be seen galloping seven sets of horses and carts, each set of four horses and a cart. The colors of the horses are jujube red, yellow and black. On both sides of the road are planted two green pines with equal distance and black-brown crowns. The ceremonial figure shows eleven people, all wearing robes of different colors: brown, green, red, white and black. Characters for the head of the beast, may be wearing a mask, but also likely to be a religious significance of the palace to fight the ghost of Nuo Yi map. Architecture is visible on the building for two floors, or for the palace before the double Que. Botanical drawings of wheat and bamboo and plum. It can be seen at the time of painting has a wide range of subjects.

Western Han paintings in Shaanxi does not survive a lot. Mainly Xi'an Jiaotong University, Western Han tomb murals and Eastern Han portrait stone in northern Shaanxi Province. The middle of the Western Han Dynasty to the early Eastern Han Dynasty due to the development of the economy, the prevalence of thick burials, in Shandong Province, Nanyang, Henan, Sichuan Basin, northern Shaanxi Province has appeared with the engraved image of the stone base chamber of the portrait of the stone tombs. Among them, northern Shaanxi has been in Mibi, Suide, Qingjian, Shenmu, Zizhou and Yulin six counties and cities found more than thirty portrait stone tombs, portrait stone more than six hundred pieces. This area of the Eastern Han Dynasty mainly belongs to the West River County, through the chronicle of the tomb, tomb type system and the history of the West River, it can be seen that the Eastern Han Dynasty in northern Shaanxi Province can be divided into a period of prosperity (89-108) and the remainder of the period (129-140). Its carving techniques can be roughly divided into two categories. The first category, simply reduce the ground plane Yang carving. That is, only carved out the outline of the object, the outline of the line outside the ground, the object does not do the details of the carving, the effect of the topography has a similar paper-cut. This type can be subdivided into two types. type A, the style of ancient and heavy, sometimes the proportion may not be appropriate. This is the majority, such as the tomb of Yang Meng Yuan. type B, the image of the contour line outside the reduction of the ground is very shallow, the picture is rich and magnificent, fine and smooth lines, quite a Chuhan lacquer painting style. For example, tomb No. 1 of Yanjiakou in Shoude. The second category, for the reduction of the plane of Yang carved plus Yin line. With yin line engraving fine, exaggerated characters, well expressed the strength and momentum of the movement, has a high degree of artistic infectivity. The doorframe of the Han Tomb in Liujiagou, Jiande can be taken as a representative. From its carving techniques, Shaanxi Han portrait stone most likely originated from Shandong, rather than local self-generated. Its content can be divided into three categories: one is to reflect the social life of the subject, this is the majority. The second is the depiction of auspicious and mythological subjects. The third is historical subjects. Among them, farming and hunting subjects compelling, horse and carriage travel, manor life (such as the best to see, music and dance, kitchen) than the Shandong red tape and luxury, the need for deeper cultural heritage of the mythological subjects and historical subjects are few. This is the result of careful observation of the painter's life. Composition is characterized by distinctive features, one is the edge of the developed, strongly decorative. Or clouds, plants mixed with animals, continuous; or continuous geometric patterns, giving a sense of simplicity. Second, the lack of grand scenes, more compartmentalized representation. In short, the Eastern Han dynasty in northern Shaanxi province is the treasure of China's Han painting art carvings. It is simple and simple style, a strong sense of decoration and rich local flavor, showing its unique artistic charm ("Northern Shaanxi East Han portrait stone", in "commemorating the 20th anniversary of the founding of the archaeology of Shandong University", Shandong University Press, 1992 edition).

Sui and Tang paintings, in the Han, the two Jin and North and South Dynasties on the basis of a great step forward. In the social prosperity of the magnificent background, when some influential painters from all directions gathered in the capital Chang'an, landscape painting has begun to get rid of the childish atmosphere, the emergence of gold and blue landscapes, more refreshing. Wu Daozi, a painter of the Sheng Tang Dynasty, specialized in a variety of subjects, and competed for the throne of the "Saint of Painting" with his "Wu Dangfeng" (吴带当风). As a distinctive painting of the Middle and Late Tang dynasties, Cherry Figure Painting reveals a corner of the prevailing social customs for us from different sides. Landscapes, birds and flowers, and animal paintings also appeared one after another, among which the appearance of ink-splash landscapes, which were free to express their emotions, particularly reflected the romantic sound of the times. The colorful Chang'an paintings are the core part of the art of painting in the Sui and Tang dynasties.

Sui and early Tang paintings inherited the meticulous and colorful painting style of Qi Liang and created something new. The most worth mentioning is Zhan Ziyu (550-604) of the Sui Dynasty. Zhan Ziyu (550-604), a native of Bohai (present-day Xinyang, Shandong Province), lived in Chang'an afterward. He created "Chang'an Chariot and Horse Figures" (anonymous), etc. The only famous painting in circulation is "Traveling in the World". The only masterpiece that has been passed down is the "Spring Tour". This is China's oldest existing landscape scroll painting, "the world's first scroll" reputation. He ended the "water is not allowed to pan, people in the mountains" of the childish painting era, opened Li Si Xun father and son of "Jinbi landscape" of the precedent.

Yan Liben of the early Tang Dynasty (? Yan Lipen's paintings include "Scrolls of the Emperors and Kings of All Ages", "Xiao Yicheng's Lanting Picture", and "Steps in the Emperor's Chariot". The characters are carefully delineated, each with its own mood.

At the time of the early Tang Dynasty, the ü-Tsang (Hotan, Xinjiang) painter Yuchi Yisheng came to Chang'an, combining the Indian concave and convex painting method with the traditional line drawing of the Central Plains, creating a bold, strong style of painting.

Wu Daozi of the Sheng Tang Dynasty paid attention to the experience of life, and was good at depicting religious figures in disguise, creating more than 300 wall paintings in his lifetime. He made good use of the sparse body and white painting style, the line is very rich in three-dimensional sense. The style of Buddhist painting created by Wu Daozi was called "Wu Jia Style", and the lightness and ease of the "Wu Belt Dangfeng" had a far-reaching influence on Buddhist paintings. Su Dongpo in the "book after Wu Daozi painting" have sighed: "Poetry to Du Zimei, literature to the Han retreat, the book to Yan Lugong, painting to Wu Daozi, and the ancient and modern changes, the world's ability to serve Bi carry forward."

The most important achievement of painting in the Sheng Tang Dynasty was in landscape painting. Li Sixun (651-718) landscape paintings to green for the quality, gold and blue for the pattern, fine and gorgeous, gold and blue, known as the "gold and blue landscapes", the creation of the "Northern" painting method. His works include "Pavilion with Sail" and "Emperor Ming's Luck in Shu". Wang Wei (701-761) painted natural, peaceful and harmonious ink and watercolor paintings, and his talent as a poet brought his paintings to a perfect state of poetry and painting, with far-reaching influence. In the Ming Dynasty, the great calligrapher and painter Dong Qichang regarded him as the originator of the "Southern School". His works include "Rim River Drawing".

The main representatives of the Tang painting of ladies are Zhang Xuan of the Sheng Tang Dynasty, who grew up in Chang'an, and Zhou Fang of the Middle and Late Tang dynasties. Zhang Xuan was the court painter of Emperor Xuanzong. He was not only a master of the aristocrat's life, but also a master of the landscape, whether it be a building, a pavilion, or a flower grove or a bamboo pavilion, all of which were brilliant. He painted figures with fine and neat outlines, brilliant coloring, and creative techniques, which had a far-reaching influence on brushstroke and heavy-color figure painting. His works include "Lady Guo's Spring Journey" and "The Painting of the Worst Practitioner". Zhou Fang, who studied under Zhang Xuan, was good at painting aristocratic women, and created the so-called "Zhou Family Style", in which "the clothes are strong and simple, and the colors are soft and beautiful" (Record of Famous Paintings Throughout the Ages). In religious paintings, he created the unique, full-bodied, free style "water and moon Goddess of Mercy", reflecting the Tang Dynasty religious paintings to the secularization of the development of national forms. His contribution to painting was so great that it spread to Silla (present-day Korea) and Japan. Heirloom works such as The Hairpin Lady still shines with its undiminished eternal charm.

In the Tang Dynasty, Han Gan and Han Hwang were the most outstanding painters of animals and birds in Chang'an. Han Gan (around 706-783) was promoted by Wang Wei in his early years. During the reign of Emperor Xuanzong, he entered the palace as a painter. He was especially famous for his paintings of cows and horses. His horses were fat and strong. His paintings of horses are fat, strong and vigorous, and have had a great influence on horse painting in later generations. Han Hwang (723-787) was a famous minister of the Central Tang Dynasty who served as prime minister of Emperor Dezong. "He is especially skilled in calligraphy and also good at painting." (Old Book of Tang - This Biography) His paintings of cows were extremely mesmerizing. The masterpiece "five cows", five cows each with the mood, lifelike.

Bird and flower painting to the Sui and Tang dynasties to become an independent painting among the painting world. Representatives of Xue Ji and Bian Luan, who were active in Chang'an.

If the Sui and Tang scroll paintings have survived only a handful of years, a large number of Tang tomb murals have greatly broadened our horizons of Tang Dynasty paintings. Chang'an is the capital of the Tang Dynasty, the Tang emperor more than rest in the Guanzhong Weibei east and west of more than 100 kilometers of the zone, known as the "Tang eighteen mausoleums". Imperial relatives, generals and ministers buried with countless tombs. Have found more than sixty Tang tombs with murals, of which murals have been uncovered collection of more than forty Tang tombs, Shaanxi Museum of History alone has a collection of twenty-five Tang tombs of murals, murals on an area of about one thousand square meters. Mural content involves: four gods, astrology, religion, architecture, ritual guards, hunting, life, Tang and the four neighbors friendly exchanges in many aspects. Tang tomb mural color harmony, staining delicate, smooth lines, high artistic value.

Five Dynasties and the Northern Song Dynasty, Shaanxi also produced Li Cheng, Fan Kuan, Xu Daoning and other masters of landscape painting.