Minimalist art history: read the green landscape paintings of past dynasties in 5 minutes.

Once upon a time, there was a blue ore-azurite, which often appeared near copper mines. When people look at it, they know that it is not far from the copper mine, and sometimes they dig together to smelt copper. Its function is to help people find and smelt copper. It is either underground or in the fire.

Some people think azurite looks good and want to make it into an ornament like malachite, but it is not tough and brittle, so they continue to bury it in the soil and burn it.

Until one day, someone had a whim. If it is fragile, it is fragile. Just mash azurite, remove impurities, add glue and paint it on the painting. Oh! The color is green and bright, extremely beautiful. Since then, it has been sought after by painters of all ages. Azurite, which has always been an accessory of copper mine, finally counterattacked and embarked on the peak of rock production. And the splendid and beautiful turquoise landscape painting in the history of China painting has finally come online. Let's take a look at the past life of China's landscape painting-Cui Hua's green landscape painting.

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Wei, Jin, Southern and Northern Dynasties: Lovely Decorative Background

Wei, Jin, Southern and Northern Dynasties is the embryonic period of turquoise landscape painting. At this time, landscape is the background of figure painting, which is in the stage of "water can't be flooded, people are more than mountains". For example, our goddess was painted higher than the mountain in the Fautu Luoshen mentioned before picking flowers.

Due to the age, war and turmoil, paintings in Wei, Jin, Southern and Northern Dynasties have rarely been handed down. As can be seen from Dunhuang murals, the mountains at that time were relatively simple triangles and waves, some with green on the top and green on the bottom, and some with white lines to express the three-dimensional sense. Painting techniques are simple and naive, and there is no lack of decoration.

Sui and Tang Dynasties: If youth is not enough, gold is also needed.

During the Sui and Tang Dynasties, landscape painting entered a mature stage. Finally, landscape painting was no longer used as a background, but began to be created as an independent theme, and the techniques also advanced by leaps and bounds. After the Northern Qi Dynasty and the Northern Zhou Dynasty, Zhan Ziqian came to the Sui Dynasty. His landscape paintings are "both near and far, so they are very interesting". His You Chuntu is the earliest landscape painting in the era of cash circulation.

Li Sixun and his son are the most commendable painters in the Tang Dynasty. They are good at meticulous painting, focusing on stone, bluestone and cyan, highlighting the magnificence of splendid mountains and rivers. Because of its strong color and strong decoration, it is called great turquoise.

What's even more amazing is that in addition to the blue and green colors, clay gold pigments are also used in the painting, which are used to cross-dye buildings such as mountain outlines, stone patterns, slopes, sand mouths, rosy clouds, palaces, pavilions, etc. The picture is more magnificent and has a strong decorative effect. This green landscape with golden hooks is called "golden green landscape".

Five Dynasties and Song Dynasty: Famous paintings piled together, so beautiful that they flew.

The Five Dynasties is an important period for the development of landscape painting. Some painters, such as Hao Jing, Guan Tong, Dong Yuan and Ju Ran, went deep into nature to sketch, and their brushwork was dry and wet, coarse and fine, false and true, and had a profound influence on later landscape paintings. Painting was formally brought into the imperial examination system in Song Dynasty, and a large number of outstanding painters were trained. With the prosperity of court painting, turquoise landscape painting, which was once silent at the end of the Tang Dynasty, rose again, and many famous works widely circulated in later generations appeared at this time.

One of China's top ten famous paintings handed down from ancient times, A Thousand Miles of Rivers and Mountains, was painted by Wang Ximeng, a painter of the Song Dynasty Academy of Painting, representing the peak of green landscape painting in the Northern Song Dynasty. The turquoise scroll with a length of12m has dense layout and rich details. After many daubs and renderings, the pigment is also painted on the back of the painting heart, so it remains rich and bright after thousands of years.

Two brothers, Zhao Boju and Zhao Bosu, combined the elements of elegance and beauty on the basis of the Great Green in the Tang Dynasty, seeking elegance through enrichment. Zhao Bosu's Song Wan Jin Que Tu incorporates ink and wash techniques on the basis of traditional green painting, which embodies the initial integration of green landscape painting and literati's interest, and this aesthetic was further developed in the Yuan and Ming Dynasties.

Mid-Yuan and Ming Dynasties: Small and Fresh Ink Style

In the Yuan Dynasty, ink and wash landscapes prevailed, and the green landscape with heavy ink became a minority. "Carving green and embedding green" is ranked at the end of the painting 13 section. There are not many painters who paint with colors, such as Zhao Mengfu, Qian Xuan and Wang Mian. They combine ink painting with green landscape, and the color is generally light, which can be called little green.

In the Ming Dynasty, Wu Pai continued to integrate the green landscape with the literati's interest in pen and ink, catering to the society's pursuit of elegance at that time. More literati make a living by painting, and the content of painting is more secular. You can see that people in the landscape often play the piano and drink a little wine while making tea. Painters such as Chou Ying and Zhang Hong are famous for their green landscapes in real life, and the green landscapes have embarked on the road of appealing to both refined and popular tastes.

Late Ming Dynasty &; Mid-Qing Dynasty: Antique and Artistic Conception

A strange man appeared in the late Ming Dynasty, which influenced the popular trend of landscape painting for more than 300 years. He is the painter Dong Qichang. Dong put forward the classification theory of landscape painting of "Southern and Northern Schools". The Northern School is the colorful landscape of Li Sixun and his son, and the Southern School is Wang Wei's shading method. He is an orthodox Southern Sect, emphasizing literati accomplishment and belittling modeling skills, emphasizing pen and ink interest and ignoring the creation of mountains and valleys.

The theory of North-South School has always influenced the painting circles in the early and middle period of Qing Dynasty, and has become the main guiding ideology of literati painting creation in the past 300 years. Green landscape painting also pays more attention to artistic conception and is divorced from life.

Modernity: bold experiment, innovation and innovation

Since the opening of the port, more and more western cultures have infiltrated into China, and the painting styles have become more diversified. Many painters break through the tradition and seek change, forming Shanghai-style paintings with modern artistic characteristics.

Chun Wong conducted the experiment of combining ink and wash, "Dan Qing Zang Mo, Mo Cang Dan Qing", Zhang Daqian and Liu Haisu created warm and bright green and colorful landscapes, broke through the barriers of the Northern and Southern Dynasties, blended ink and painting, and colored with cyan in one furnace ... The bold experiments of these famous artists brought new vitality to the traditional green and green landscapes.

Exhibition information

Vertical and Horizontal Wan Li —— Special Exhibition of Green Mountains and Green Waters in Past Dynasties

Time: 20 17 September 15- 12.4.

Venue: Wumen Gate and East-West Swallow Wing Building of the Palace Museum

At present, the Palace Museum's "A Thousand Miles of Rivers and Mountains" has officially gone offline. However, there are still many national treasures in the exhibition hall, such as Zhao Boju's Autumn Color Map of Mountains and Rivers, and the first appearance of Gong Yuantu in Southern Song Dynasty, Dongshan Silk and Bamboo Map in Yuan Dynasty and other green landscape paintings. There are few people and the exhibits are sincere, which is a good time to have a closer look. This is the first time in China to comprehensively review and sort out the green landscape paintings in the form of exhibitions. Friends who like green landscapes, don't miss this last month ~