The development of folk traditional art

From the perspective of traditional folk culture, the elephant has become an auspicious animal with its heavy and steady posture. The theory of peace and happiness is deeply rooted in people's hearts and has become a classic festive pattern, symbolizing the prosperous scene of Heqing Haiyan and the prosperity of the people. This original intention was born because of the influence of Buddhist culture. Elephants are sacred incarnations and the mounts of Pu Xian, the four great Buddhists. With the rise of Zen in the cultural world, composition has been injected with more cultural implications, including a metaphor of breaking the mystery and seeing the sun, which is similar to the Buddhist classic "32 eyes can't see the Tathagata". According to the records in the history of painting, the theme of Manjusri painting axis in Yuan Dynasty should have originated in Tang and Song Dynasties. Zhang Sengyou, Yan, Li, Qian Xuan and others all spread the world with their works on this subject. For example, as recorded in Xuanhe Painting Spectrum, Zhang Monk Friends and Yan once painted works on this subject. Judging from these records, these works are classified as Taoism and Buddhism, which shows that this theme has an inseparable connection with Buddhist culture at the beginning of its birth, and its implication naturally contains that purity. Judging from the image ink painting handed down from ancient times, Qian Xuan's image ink painting is an early work on this subject. In this work, the perfect white elephant occupies the left position in the center of the picture, which looks gentle and comfortable, and the narrowed eyes reveal a serene and pleasant charm. Next to the elephant, a monk in a red robe holds Zhang Xi in his hand. An old man on the left is preparing to wipe the elephant's body with a cloth towel, and a boy and two old men on the right are cleaning the elephant with a broom. The whole work has smooth lines, clear colors, no unnecessary background, full of quiet and peaceful atmosphere, with a hint of artistic conception of literati painting, giving people an extraordinary sense of holiness. The schema of Qian Yuan's "image ink painting" should inherit the composition of image ink painting in Tang and Song Dynasties, which is also the classic composition mode of this schema. This theme was very popular in the late Ming dynasty, especially Ding, the leader of the deformation wave in the late Ming dynasty, was a keen fan of this theme, and his photographic images became a classic of this theme. Deeply influenced by Buddhism and Taoism, Ding often lives in seclusion in Buddhist temples and draws lessons from the influence of folk art in his artistic creation. Such an eclectic style has given this schema a new sublimation in expressiveness. The smooth lines are full of vitality, and the slightly distorted and exaggerated picture language makes the picture full of lofty temperament. His works consistently adopted the brushwork of Li, Zhang Sengyou and others, and absorbed the modeling characteristics of Guan Xiu in the Five Dynasties or even higher in the characterization, which made the images in his works more expressionistic in deformation. Judging from his works on image development, the styles in different periods are slightly different, but overall, this white figure with gentle posture and peaceful eyes is not much different from before, but it has distinct personal characteristics in characterization. Some arhats, monks and servants in the painting are more like the ancient style in Guanxiu painting, with the morphological characteristics of the conference semifinals. Some people obviously absorbed more nutrition from folk painting, showing a secular and folk style. Such people and elephants echo the background composed of bodhi trees and rocks, which plays a very good role in regulating visual contrast and endows the picture with a vivid and quiet atmosphere, which has become the pinnacle of this theme. Ming Ding's ink painting, Ming Ding's ink painting and Ming Ding's sweeping painting. After Ding, Cui Zizhonghe, the successor of the late Ming Dynasty deformation body, all had works with this theme spread around the world. These works inherit and promote the style of expression defined by Ding, and have a deeper integration with the social and cultural atmosphere of the late Ming Dynasty. In the late Ming Dynasty, with the development of Wang Yangming's psychology of helping Buddhism to enter Confucianism, the integration of Confucianism, Buddhism and Taoism made the theme of washing images more full of philosophical speculation. For example, there are many pictures of Cui Zizhong, one of which reads "a photographic picture" with the title: "I know this from the fifty-three books of Jin". There is a saying that once you quit the dragon, you can watch it, train elephants, perform it, keep silent and enlighten yourself. Seven phases, the largest of fifty-three phases, this is the largest of seven divisions. "From the symbol of the picture, it is more symbolic and even has some narrative plots. The decorative auspicious cloud at the top of the picture holds up a young dragon, while the dragon king and the dragon girl stand in a Wang Yang at the bottom of the picture, while the image of Confucian scholars is added to the theme part of the washed image in the middle of the picture. This kind of picture composition is quite rare in the subject matter of developing images, so it can be speculated that this kind of schema is inextricably linked with the social culture represented by Yangming's mind theory at that time. On the other hand, raising elephants in the court was also a kind of atmosphere at that time, and washing elephants with a sense of ceremony had a secular side that implied auspicious folk customs. For example, Shen Defu's Supplement to Wan Yeli records: "The elephants in the capital only wash on the seashore outside the country for one day, not once a year." "And in Wu Bin's" Washing Pictures "(1), there are three characters sitting leisurely at the table, washing two white elephants next to them, which seems more like a description of this custom. It can be seen that in the late Ming Dynasty, the photographic image seems to have different meanings. However, the main idea of the photographic image is the original religious significance. For example, another photographic image of Wu Bin (the second part) obviously contains this meaning. Cui Zizhong's Ink Painting in Ming Dynasty, Cui Zizhong's Ink Painting in Ming Dynasty, Wu Bin's Ink Painting in Ming Dynasty (I) and Wu Bin's Ink Painting in Ming Dynasty (II). Until the Qing Dynasty and even the Republic of China, the theme of ink and wash was still quite popular. The most classic is the picture painted by Ding. Emperor Qianlong seems to be very keen on role-playing. In this picture, Emperor Qianlong, known as the perfect old man, plays a bodhisattva sitting on a lotus bed, and the waiter next to him dresses himself up as a jade girl, a golden boy and a heavenly king. This composition contains an obvious theme in comedy. Emperor Qianlong's intention of calling himself a bodhisattva is self-evident, and he praised the majesty of the emperor in the name of religion. In the Qing Dynasty, Gu's ink painting and Ding's ink painting appeared, which obviously continued the original meaning of this theme. During the Republic of China, Lu Xiaoman, a talented woman, also had a painting. These ink paintings with different styles, in terms of their meanings, are obviously artists expressing their spiritual pursuit and yearning through religious themes. Ding Qing's washing pictures, some imitation Ding washing pictures, and Lu Xiaoman's washing pictures and cleaning dust barriers are really true. This is the basic essence of the theme of image expansion diagram. Just as Gu Qiyuan said in "Sweeping Elephants in Praise" in the Ming Dynasty: "If the elephant is not like it, why should the husband sweep it?" If you don't like it, why not sweep it? Mysterious solution, erasing is not true. Rosen knew this silently, and there was nothing wrong with it. Mo Xiang, you and I walked into the depths of Nryana Cave. "This kind of breaking the deadlock, traveling light, is the only way to get great relief and prove that dzogchen can reach the beauty of spring blossoms and contentment.