A work that asks five dynasties and ten countries to send their feelings to mountains and rivers.

Names of tourist maps of Guantong Mountain in the Five Dynasties

Category China Ancient Paintings

the Five Dynasties

Cultural relics originally belonged to the old collection of the Forbidden City.

Present situation of cultural relics in Taipei National Palace Museum

brief introduction

Silk, ink and wash, vertical: 144.4 cm, horizontal: 56.8 cm.

Guan Tong, also known as Tong or Tong, is from Chang 'an. He painted landscapes, studied mechanics under Hao Jing, and became his own family. At that time, it was called "the official landscape". His landscape brushwork is simple and vigorous, and his scenery is broad and meaningful. He is as famous as Li Cheng and Fan Kuan, and was praised as "Three Scenes" in the Northern Song Dynasty.

Guan Shan Travel Map is Guan Tong's masterpiece. This is a magnificent picture, with mountains and mountains, ancient temples hidden in deep valleys and dense forests, and Banqiao huts nearby, with tourists and merchants like clouds and chickens and dogs singing, which is a good picture of a harmonious life. The scenery of this painting is both "high" and "flat". The tree has branches and no stems, the pen is simple and vigorous, and the thickness is intermittent. The pen goes from heart to heart, and the scene blends. In addition, the painter's ink stains are vivid, and Mo Yun is ups and downs, which shows the profoundness of Guanshan landscape painting.

At the turn of the Tang and Song Dynasties, it was called "Five Dynasties and Ten Countries" in history. Although the situation is unstable and the regime changes, painting, as an art form that inherits civilization and aesthetic character, has a strong cultural accumulation since the Jin and Tang Dynasties, and there has been a general atmosphere of bright stars.

Hao Jing, Guan Tong, Dong Yuan and Ju Ran are important figures connecting the preceding with the following in the history of ancient painting in China, as well as famous painters in the history of painting development in China, and they have become models for later painters to learn. During this period, the basic painting techniques, composition scheme and painting theory tended to mature, and many classic masterpieces were produced. Dong Yuan and Ju Ran once had a relationship, depicting the scenery of Jiangnan with fine painting style; Hao Jing and Guan Tong are also teachers, and their painting style is dignified and dignified. Hao Jing's disciple Guan Tong, through hard work, acquired Hao Jing's brushwork, which pushed the panoramic landscape and landscape painting techniques pioneered by his teacher to maturity and surpassed his teacher. Later generations called Guan Tong's landscape painting "Guan Jia's landscape", and together with Li Cheng and Fan Kuan, they were also called "the three outstanding landscape paintings" in the early Song Dynasty, which represented the mainstream of landscape painting in the Song Dynasty.

"Guan Tong" is a landscape painting with simple brushwork, wide scenery and long meaning, and full of life breath. The composition takes into account the lofty method and the plain method, and the pen is simple and vigorous, and the shades are intermittent. The master of stone and wood painting comes from Bi Hong (a painter in Tang Dynasty, who is good at painting trees and stones). The trees have branches and no branches, and the ink stains are vivid and charming. Some people commented on Guan Tong's paintings, saying that "there is a little less detail when painting. The simpler the pen, the stronger the spirit, the less scenery and the longer the meaning." (Wu Songming's "Painting Spectrum of Xuanhe") Someone commented on his paintings: "His paintings are towering peaks overlooking the poor valleys, and the outstanding ones are made in one stroke. Its shape is like a sudden spewing out, with strange rocks and green peaks, flat rocks at the foot of the mountain and unique roads. Both the bridge and the village can be prepared, so it was pushed at that time. "

This "Travel Map of Guanshan" (see photo) is Guan Tong's masterpiece. The silk version is light in color, with a length of144.4cm and a width of 56.8cm.. In composition, a river flows obliquely from left to right, dividing the picture into a "Z" shape. On the right side of the river is a rolling mountain peak, and a huge mountain peak is drawn upward by high method, which is abrupt and towering like a cirrus cloud, which is the characteristic of Guanlongshan River. The left bank of the river is slightly gentle, and there is a wooden bridge connecting the two banks. There are pedestrians on the bridge and on the shore, riding donkeys or walking towards the hotel. At the bottom of the picture, a Shan Ye hotel is drawn by plain method. Tourists are walking or sitting, having a rest and drinking tea, a woman is boiling water, several children are playing, the hotel is surrounded by chickens, dogs and pigsty, and a boat is moored by the river-what a quiet and harmonious life scene! The trees on the mountain are all leafless empty branches or stemless branches, which is a unique painting method of "family fun". His pen is simple and vigorous, full of rhythm, and the so-called "painting with books" is also. Draw a sketch of the rock first, and then polish it with "dotted strokes" or "short stripes". The brushwork is meticulous, and it is stained with light ink layer by layer, so it looks dignified and tough. This is quite different from Dong Yuan's and Ju Ran's Jiangnan landscape paintings. According to reports, Wang Duo, a painter and calligrapher in the Ming Dynasty, left an inscription on the back of this painting: "Guan Tong's painting is dripping wide and there is no one around. This framework is precise and rigorous, and the steps are meticulous ... "

Guan tong, a landscape painter of the five dynasties. Chang 'an (now Xi, Shaanxi) people. Huajian is called Guan Tong, and Supplement to Five Dynasties Famous Paintings is called Guan Tong, and they are the same person. The main works handed down from generation to generation include: Travel Map of Mountain View, Mountain Stream Waiting for Crossing, Cold Forest Map of Qiushan Mountain, Fishing and Music Map of Qiushan Mountain, Architectural View Map of Qiushan Mountain, etc.

abstract

History and Culture In the history of China, the five dynasties that established the country in the Central Plains after the demise of the Tang Dynasty are called the Five Dynasties: Hou Liang (907-923), Later Tang (923-936), Later Jin (936-947), Later Han (947-950) and Later Zhou (951-95). In the south, there are ten places where separatist regimes coexist. In fact, this separatist regime is the continuation of the separatist regime in the late Tang Dynasty, and the later Zhou Dynasty is the predecessor of the Northern Song Dynasty.

In the late Tang Dynasty, the Central Plains was weakened by the war. According to records, during the Huang Chao Rebellion, "dozens of states were hungry, leaning against the corpse wall, and thieves (referring to the Huang Chao Department) ate prisoners. Thousands of people smashed their bones and skins with giant pheasants every day and spit them out." ("Zi Tongzhi Jian") Another mob team in Qin Zongquan is "When there is no food, the people will store it, the scholars will come out, and the people will follow it." ("Old Tang Book") The residue of its slaughter is really outrageous. After more than ten years of riots, the Central Plains region is "desolate and uninhabited, and Jing Ke is wild". Although the next five dynasties were nominally inherited from the Tang, Song and Qi Dynasties, the name was Zhengshuo. In fact, it was only fifty-four years before and after the Five Dynasties, but there were eight surnames and thirteen princes. This shows that the Central Plains region at that time has reached the most chaotic era. Among the ten southern countries, Xishu and Nantang became the cultural centers at this time because of social stability and economic development. After the Anshi Rebellion, with the repeated wars in the Central Plains, imperial painters and famous painters from all over the country moved to the south to take refuge, which promoted the development of painting art in Western Shu and Southern Tang Dynasty. Xishu (around Shu) and Jiangnan (Southern Tang) are two painting centers from the late Tang Dynasty to the early Song Dynasty, where many painters gathered. Before and after Shu, four people all loved painting. In order to promote painting, Meng Chang, the late ruler, founded the "Hanlin Painting Academy" in the second year of Mingde Yu (935), selected painting talents to be admitted to the hospital, and awarded the positions of Dai Zhao and You Hou.

The alternation of dynasties does not represent the stage in the history of painting, which is particularly obvious in the paintings of the Five Dynasties. Five Dynasties painting is not only a continuation of the late Tang Dynasty, but also its style and characteristics continued to the early years of the Northern Song Dynasty. Paintings of the Five Dynasties and Ten Kingdoms inherited the late Tang Dynasty and opened up a new style in the Song Dynasty, which is mainly manifested in the following aspects: (1) Paintings in this period are still dominated by religious paintings, and murals in temples around the country are still continuing, and the painting style mostly follows Wu Daozi. (2) Key changes have taken place in landscape painting. Hao Jing and Guan Tong are the representatives of the northern landscape physique, while Dong Yuan and Ju Ran are the representatives of the southern landscape physique. The painting method of expressing rock texture and structure has been developed, and ink and wash landscape painting has matured, which is of milestone significance in the history of China landscape painting. (3) Flower-and-bird painting has formed two styles, expressing different tastes of "wealth" and "wildness" respectively.

The Five Dynasties and Ten Kingdoms period is the most dramatic period for the development and changes of China's landscape painting. However, due to lack of information, many details of this dramatic change are still unclear. Combining archaeological discoveries, literature records and handed down works, we can generally think that the achievements of landscape painting in this period are as follows:

(1) We found a way to express rocks, which promoted the prosperity of ink landscape in China landscape painting. Different painting methods have formed two schools of China landscape painting. Axe-splitting school is becoming more and more mature in Hao Jing and Tong Guan, and Pima-splitting school is becoming more and more perfect in Dongyuan and Ju Ran.

Axe chop is more suitable to represent the exposed rock cliffs in the north, and its variants include big axe chop, small axe chop, watercress, folded belt and so on. Pimashi is used to express the soil slope in the hilly area of the south of the Yangtze River, and its variants include cirrus, lotus leaf, untied rope, cow hair and so on.

(two) the initial completion of realistic landscape images. After a long period of accumulation, the painters of the Five Dynasties created a painting method that can reproduce the three-dimensional world in the plane space, and successfully mastered the skills of shaping the rock shape and expressing the depth and vitality of the picture space.

(3) A number of landscape painters have emerged, and their landscape physique has become an immortal model and a model for future generations.

Hao Jing, date of birth and death is unknown. Haoran was born in Hanoi (now Qinyang, Henan). In the Five Dynasties, he escaped chaos in Honggu, Taihang Mountain, and was named Hong Guzi. It has been said that "Wu Daozi's paintings of mountains and rivers are pen-free, with ink and without pen, and it is advisable to adopt the strengths of his second son and become a family" (Guo Tu). His so-called "pen" refers to the hook, while "ink" refers to the change of ink color from yin to yang, which can be regarded as the consciousness of five generations of landscape painters to express rock texture with ink hooks.

"Kuang Lu Tu Shuo" was handed down as his work. This painting is an ink-and-wash silk book, which adopts panoramic composition method, and its stone method is hard, and the two methods are used together, which is magnificent; Although it reflects some characteristics of Hao Jing, it is difficult to determine whether it is true.

Hao Jing wrote Calligraphy, which initiated the six essentials of landscape painting: qi, rhyme, thought, scenery, pen and ink. Because Sheikh's theory of "six methods" can't meet the needs of the growing development of ink-wash landscape painting, he supplemented the "ink" lacking in the "six methods", summarized "pictographs as objects" and "coloring by classes" as "scenery", and refined "business position" as "thinking", instead of "transforming and shaping" which is not suitable for landscape painting.

He also put forward the theoretical categories of "ingenious calculation", "pen has four potentials" (muscle, flesh, bone and qi), "visible disease", "invisible disease" and "source of images" (aesthetic experience of trees and landscapes), evaluated the artistic attainments of landscape painters such as Li Sixun, Wang Wei and Xiangrong in the Tang Dynasty, and expounded his achievements profoundly and extensively.

Hao Jing's artistic thought of landscape painting is very similar to the Neo-Confucianism's theory of examining the "reason" and "nature" of all things in the universe. Its essence is to grasp the universe and understand its profound, vast and complex mysteries, not just to imitate nature. This process of observing nature includes observation, meditation and understanding of nature. It is this view of nature that determines that China's realistic landscape images do not use the scientific spatial expression method of focus perspective (the western linear perspective method was adopted by China painters in the18th century), but mainly use scattered perspective to create a real and sensible air effect through the depth of rocks.

Whether it is painting practice or painting theory, Hao Jing has a profound influence on later generations. Since the Five Dynasties, China's ancient paintings have been dominated by landscapes, and ink and wash landscapes are in the mainstream position in landscape painting, which is closely related to Hao Jing's influence.

Guan Tong, the year of birth and death is unknown. Chang 'an (Xi) people. Learn from Hao Jing, which is famous for its blue color. Their brushwork is simple and vigorous, and later generations collectively refer to it as "scenery and customs" Among Guan Tong's three works handed down from generation to generation, Autumn Mountain Late Cui Tu Axis best reflects Guan Tong's original painting style. The shapes of the trees and stones in the painting reflect the record of his painting style in the history of painting, that is, "the stone is strong and the trees are rich" (Guo's "Paintings and Experiences"), but it is difficult to determine whether it is authentic. "The Axis of Travel in Guanshan" painted a dead tree in a cold mountain, traveling in a mountain shop, and painted a tree with stems and branches, which is consistent with the historical review of painting. The inscription "Mountain Stream Waiting for Crossing" has been highly stylized or not original. After Guan Tong entered the Song Dynasty, he was known as one of the three "one hundred-generation standard projects", and his majestic and far-reaching panoramic landscape physique in the north was known as "Guanjia landscape" in the world. He and his teacher Hao Jing have made a major breakthrough in the history of landscape painting in China, which is of milestone significance.

During this period, the painting method of expressing Jiangnan landscape began to mature. However, after entering the Song Dynasty, this painting style was not appreciated by the northern aristocratic literati who decided the painting fashion at that time. Dong Yuan, Ju Ran and Song people, the representatives of this style of painting, have recorded it briefly.