What are the representative figures of line drawing, freehand brushwork and ink splashing of ancient masters in traditional Chinese painting and landscape painting?

Wu Daozi worships the Imperial Palace and can't paint without a letter, so he enjoys a high reputation. It is reported that during the Tianbao period of Emperor Xuanzong of the Tang Dynasty, he suddenly wanted to see the strange scenery of Jialing River in Sichuan, so he asked Wu Daozi to take a photo. When he came back, Xuanzong asked him where the painting was. He said, "I don't have a chalk book. Keep it in mind." Later, he painted in Datong Hall. With the help of memory, Wu Daozi painted the Jialing River for 300 miles a day, and Li Sixun painted it for several months. The painting style of Jialing River is neat, smart and dense, resplendent and magnificent, the style is simple and profound, and the ink painting with "sparse" handwriting can be extremely wonderful and passed down as a story. Zhang Yanyuan in Famous Paintings of Past Dynasties? "On Painting Landscape Trees and Stones" has a high evaluation of his landscape painting, and is regarded as the pioneer of landscape painting reform in the Tang Dynasty: "Wu Daozi, who values heaven and cherishes god, often paints walls in Buddhist temples, collapses beaches with strange stones, and writes landscapes in Shu Road if he can think. From the change of mountains and rivers, it began in Wu and became Erli. "

Portrait of Wu Daozi

Wu Daozi's landscape painting has formed distinct personal characteristics, and created a new style of ink and wash landscape and freehand brushwork, which is different from the popular landscape painting style of single-line sketching and coloring at that time. Of course, this change in Wu Daozi shows the momentum of landscape, but the form of landscape is a little simpler, with more momentum and less rhyme, too simplistic and lacking of color expression. After middle age, Wu mainly painted Buddhist and Taoist figures. Wu Daozi's landscape paintings are mostly painted on the wall, with fewer axes, and now they are completely gone, but we can understand his landscape style from the records. He's "willful climbing on the wall" and "never using a pen vertically", the original "delicate rhinoceros comb" in landscape painting has been completely eliminated, and the "vivid" landscape form is hard to exist in Wu Daozi's landscape. Wu Daozi gave new life to landscape painting, which is probably Wu Daozi's greatest contribution in the history of China landscape painting. He should be regarded as the first great reformer in the history of China landscape painting.

Green meticulous painting

Portraits of Li Sixun and Li Zhaodao

Zhang Yanyuan praised Li Sixun for "painting mountains and rivers, trees and stones, vigorous brushwork, stormy waves, misty clouds, meeting immortals and enjoying the seclusion of rock ridges". The Record of Famous Paintings in the Tang Dynasty also said that Li Sixun: "The houses on Zhao Zi Road have a wonderful landscape, and people are named Da Li and Xiao Li. Thinking and training are of high quality and the landscape is wonderful. " Both Records of Famous Paintings in Tang Dynasty and Taiping Guangji recorded the story of Li Sixun and Wu Daozi painting 300 Li of Jialing River. Ming Chengzu said, "Li Sixun's achievements in several months and Wu Daozi's achievements in January are wonderful." It can be seen that although Li Sixun and Wu Daozi have different painting styles, they have achieved great success.

Li Sixun's Pavilion on the Sail

Li Sixun's achievement in landscape painting is to develop a delicate, dense, prosperous and rich painting style of green landscape, and become a family of his own. Li Sixun's landscape painting has obvious aristocratic color in theme and artistic style, but he still hasn't got rid of the immortal thought in the artistic conception of landscaping. There is a fairy story in the painting, or a "smoke cloud". In terms of techniques, most of them are "writing mountains", colored with large turquoise, and dyed with snail green and bitter green. Most of the painted leaves are stone green. In the description of landscape images, it broke the simple sketch and coloring, but expressed the rock structure with vigorous and changeable outlines, and then filled with thick green colors, with magnificent colors, which showed the brilliant atmosphere of the art in the prosperous Tang Dynasty and formed dazzling artistic characteristics. Although the green landscapes in his works are still highly decorative, they are more natural and mature than those in the Sui and early Tang Dynasties. From the preserved works belonging to his genre, we can see the artistic features of Li Sixun's works. His son inherited the green landscape painting method of the Li family, and Zhang Yanyuan commented that he "changed his father's tendency, vividly". However, Zhu's Record of Famous Paintings in Tang Dynasty said that his brushwork was "not as good as thinking and practicing".

Li Zhaodao's "The Running Script of Huang Ming"

Pomo landscape

Wang Wei's works fully embody the germination and development of ink painting in Tang Dynasty, and represent another style of landscape painting in Tang Dynasty. Wang Wei was a scholar in the ninth year of Kaiyuan, but he was forced to accept a fake post because of the Anshi Rebellion and was demoted. He gradually lost his career. In his later years, he lived in seclusion in Lantian Mountain Villa, Shaanxi Province, playing the piano, writing poems and worshiping Buddha. Wang Wei was the leader of Wang Meng's poetry school in the prosperous Tang Dynasty. His pastoral poems are quiet, fresh and natural, and he is good at writing vivid and touching scenes with concise poems, which has fresh and implicit effects. Wang Wei once relied heavily on Zen Buddhism, and sometimes "talked about metaphysics all day long", so his works of art were permeated with certain Buddhist thoughts. For example, his poems "I will walk until the water checks my way, and then sit and watch the rising clouds", "Moonlight in its pine forest, crystal stone in its stream" and so on all contain certain meditation machines and have a state of meditation. More importantly, he is not only good at poetry and painting, but also able to integrate poetry and painting into art through creation. Poetry and painting permeate each other, and the poetic artistic conception is clearly and concisely contained in the picture, so that the picture has a deep and quiet poetic realm. Therefore, Su Dongpo spoke highly of him, saying that "there are paintings in poems and poems in paintings".

Portrait of Wang Wei

Wang Weigong Cao Li, a landscape figure, is especially good at landscapes. "Painting a mirror" contains its "good painting, especially fine landscape". "Tang Shi Supplement" also includes "Wang Wei's painting is wonderful and his level is far beyond." Zhu's Record of Famous Paintings in the Tang Dynasty records that "the brushwork is descriptive and thinking, and the nature is involved" and "the mountains are far away, and the peaks are absolutely beautiful, which is beyond the reach of painters". His scenery embodies the beauty of many families, involving the past and the present. There are some works close to Li Sixun's green landscape, such as works with delicate brushwork and heavy axe, works that depict Wu Sheng but the wind makes him stand out, and "Broken Ink Landscape" with clear brushwork or strong brushwork. It is this "broken ink landscape" that he was praised by later generations. Express simple and plain scenery and artistic conception through simple ink color changes. Some literati painters, represented by Dong Qichang, even grasped the characteristics of Wang Wei's "clear brushwork", saying that he was good at "ink painting" and regarded him as "the ancestor of southern painting". Historically, Wang Wei did not stick to specific objects in his paintings. He paints snow-covered plantains, regardless of the four seasons. "Painting flowers often takes peaches, apricots, lotus flowers and lotus flowers as a scene." Shen Songkuo's Meng Qian Bi Tan said, "This is handy and intentional, so it is providence." This is actually the embodiment of a romantic tendency in painting creation.

Wang Wei's Snow Flow Map

Wang Wei's original works are rare in the Tang Dynasty. Zhang Yun once lamented that "You Cheng is dead, and his paintings are rare in the world" in On the Ridge of Wang Youcheng Landscape. Although "Painting Spectrum of Xuanhe" contains 126 paintings collected by the Northern Song Dynasty imperial court, most of them are mountain villas, fishing markets, snow scenes, etc. except for Buddha statues, but it seems that there are not many original works and most of them are not credible. Today, there are Wangchuan Villa and Yukime in Jiangshan and Xuexi. Most of them are imitations or under the guise of later generations.