Gu Kaizhi in the Eastern Jin Dynasty was good at painting beautiful women's landscapes, so as to make them vivid. He painted a woman's history, emphasizing the understanding of the characters' eyes and the collocation of gestures. The lapels fluttered and the clothes swelled, as if there was "qi" all over the body, which reached the highest evaluation of China's painting "vivid charm". Gu Kaizhi handed down the "Luo Shen Fu Tu" is also at this level. As for landscape painting, it is still in the design stage, and it has not yet been vivid. The Southern Dynasties have made progress.
Wei, Jin, Southern and Northern Dynasties is an important turning point in the history of China's painting and garden development. Due to the long-term chaos and social unrest, negative and pessimistic feelings prevail in society, and celebrities have expressed their feelings to escape from reality. The emergence of a large number of landscape poems and pastoral paintings has promoted the formation of landscape paintings.
Gu Kaizhi, a painter in the Eastern Jin Dynasty, said in On Painting: "People are the most difficult painters, followed by landscapes, dogs and horses, etc." It can be seen that the landscape painting at this time has been compared with figure painting, and it has been initially separated from the background of figure painting, and some of his figure paintings "The Goddess of Luo" are accompanied by landscapes, so that we can appreciate the general appearance of landscape painting at that time. At this time, the theory of landscape painting was basically mature, and the expression of space was discussed, which laid the theoretical foundation of China's landscape painting. During this period, Zong Bing and Wang Wei's theory of "spirit" and "emotion" advocated the unity of subject and object in landscape painting creation, which was the philosophical thought of the unity of man and nature expressed by China's traditional thinking and had a far-reaching impact on garden creation.
Gardening took a turning point during this period. Influenced by the trend of seclusion, the literati loved gardens and gained spiritual pleasure in creating "second nature". The participation of literati painters in gardening further promoted the development of private gardens, and at the same time, temple gardens appeared.
In Tao Yuanming's works in the Eastern Jin Dynasty, the description of natural scenery has always been to express inner feelings and interests, embodied in garden creation, and to pursue the reproduction of landscape nature. Located in the south of the Yangtze River, the Southern Dynasties has a unique garden landscape. At this time, mountains were built across the pond in the garden, plants were landscaped in combination with the terrain, and garden buildings were set up for the scenery, and the layout of plants and buildings also changed. The gardens in this period are natural landscape gardens composed of landscapes, plants and buildings.
As can be seen from the above, the social unrest in the Wei, Jin, Southern and Northern Dynasties and the feelings of celebrities to escape from reality and care for landscapes promoted the emergence and popularization of landscape paintings and landscape gardens. At the beginning of its popularity, landscape painting was limited to literati's self-painting and self-appreciation, so it did not spread widely, but it contributed to the birth of literati landscape gardens. China landscape gardens simply imitate nature, generalizing and refining landscapes appropriately, but always keep the tone of "what is nature".
Independence began in Sui and Tang Dynasties, such as Zhan Ziqian's colorful landscape, Li Sixun's Jinbi landscape, Wang Wei's ink landscape and Wang Qia's splash-ink landscape. During the Five Dynasties and the Northern Song Dynasty, landscape painting flourished, with many authors such as Hao Jing, Guan Tong, Li Cheng, Dong Yuan, Ju Ran, Fan Kuan, Xu Daoning, Yan Wengui, Song Di, Wang Shen, Mi Fei and Mi Youren, as well as green landscapes such as Wang Ximeng, Zhao Boju and Zhao Boqi, and the north and south competed for each other, reaching a peak. Since the Tang Dynasty, there have been famous painters in each period, who specialize in landscape painting. Although their life experiences, qualities, schools and methods are different; But everyone can use pen and ink, use color skills, operate flexibly, and describe in detail, so that the beauty of natural scenery can come down in one continuous line and the magnificent charm can leap from paper.
Landscape painting in Yuan Dynasty tends to be freehand brushwork, taking virtual as reality, focusing on the charm of pen and ink, and creating a new style; Ming and Qing dynasties and modern times, continuous development, a new look. Pay attention to the professional position and artistic conception in the performance. The traditional methods are ink painting, turquoise, resplendent, boneless, light red, light color and so on. In the Ming Dynasty, Suzhou painters, represented by Zhang Hong, found a new way in literati landscape painting and created works full of life flavor. On the basis of inheriting the characteristics of Wu Pai's painting style, they bring forth the old and bring forth the new, learn from nature and understand the true meaning of painting. Reflect the transcendental spiritual realm in the painting, and make the landscape painting come alive.
Wei and Jin Dynasties were a turbulent era and an active one. The social survival situation of the emerging gentry class is extremely sinister, and at the same time, its character, thought and behavior are extremely confident, romantic, casual and informal. Scholars are independent and special, and like elegant collections. It is in this era that the literati created the benchmark of literati calligraphy that influenced later generations and dedicated an exemplary and admirable calligrapher. The "Seven Sages of Bamboo Forest", namely Ruan Ji, Ji Kang, Dan Tao, Liu Ling, Ruan Xian, Xiang Xiu and Wang Rong, live an informal life and often gather in the forest to drink and sing, which is quiet and free and easy. Their "Wei-Jin demeanor" was later appreciated by many intellectuals. Wei-Jin demeanor, as the personality expression of the aristocratic ideology at that time, became the aesthetic ideal at that time. Romantic celebrities advocate nature, are detached from things, are sincere and enjoy themselves.
From Laozi and Zhuangzi to Han Dynasty, the tradition of "expensive but not cheap" was basically formed. Although I am not blindly opposed to form, I think that "form depends on God, and God needs form to exist" (Ji Kang's theory of health preservation), but compared with form and God, God is the most precious, "God is to the bone, and the country has a monarch". The reason why God is superior to form is also fundamentally related to the tradition of Qi. By the Wei and Jin Dynasties, celebrities seemed to have reached some metaphysical realm from the tangible world, although they were natural and pure. The popular human bath in Wei and Jin Dynasties also pays attention to "spirit", "rhyme", "expression" and "qi", which is a graceful, elegant and mysterious spirit beyond appearances. So, here in Gu Kaizhi, this proposition is a natural thing, a natural thing.
Catalogue of Ancient Paintings: "Husband painter, the pros and cons of Gedo painting are also. Those painters don't know how to persuade them. There are ups and downs, and loneliness for thousands of years can be used for reference. Although there are six methods of painting, it is rare to cover everything; And from ancient times to the present, there is a good one. What are the six methods? Vivid charm also; Bone writing pen also; The pictogram of things is also; It is also right to add color to the class; The place of business is also; The same is true for transfer replication. "
What is attractive is alive. Vivid people can also be compared with Gu Changkang's "vivid portrayal". Vivid, but also spread its charm, will own charm. Popular name is God, popular name is Qi, and Qi is also God. Without essence, people have no life and brilliance, and calligraphy and painting have no vitality and cannot be vivid. The so-called domineering is the top grade. God has spirit, has its own charm, and is natural and vivid.
At the beginning of Sui and Tang Dynasties, China's landscape painting had an independent branch. Since then, landscapes, figures and flowers and birds have become the three major artistic themes of China's traditional painting. Landscape painting is not only a unique scenery in the art jungle of the world, but also bears the deepest sustenance in the humanities field of China, and has gone through the most glorious historical period with China art.
It should be said that the great development of China's landscape painting has a lot to do with "Jin people discover nature externally and feel deeply at home". The literati finally found the unique context of Daobai, and when describing the natural landscape with pen and ink, they poured out their infinite love and elegant charm.
Although the Jin Dynasty was a period of cultural decline in China since the end of Han Dynasty, it also made new progress in philosophy, literature, art, history, science and technology. Before the Han Dynasty, political sovereignty was entirely in the Huaxia nationality, and other nationalities were assimilated into the ruled. After the Han Dynasty, political sovereignty was not entirely in Huaxia nationality, but other nationalities were assimilated by the conquerors of Huaxia nationality, and the nomadic grassland culture brought by frontier nationalities was also integrated into the Central Plains culture. When the world was in chaos, most of the literati did not pay attention to morality, and Confucianism declined. Broad-minded people, seeing the decline and chaos, don't want to hide it, so they trust and let go, and then open the wind of talking. The prosperity of the Jin dynasty, the chaos of the world is not over, and the people who repair the items are beneficial to the wind of metaphysics. With the intersection of metaphysics and Indian Buddhism, China culture has gradually transformed into a state of integration of Confucianism, Buddhism and Taoism.
Landscape painting is an important branch of Chinese painting, which began in Sui Dynasty. Landscape painting emphasizes "Pingyuan", "lofty" and "profound". With scattered perspective, Pingyuan is like "walking on a shady road". As you walk, you can constantly change the focus and draw a long picture, including Wan Li. The height is like a parachute descending slowly from the top of the mountain, and the center of gravity is also changing. From the top of the mountain to the foot of the mountain, you can draw a long vertical axis; Draw a three-dimensional deep valley effect by far-reaching use of the contrast between the mountains and the mountains.
It is a very important feature of China's landscape paintings to pay attention to the subjective truth behind the image itself. Mountains and rivers let me speak for them.
In the Eastern Jin Dynasty, the gentry were rich and powerful, and they were disloyal to Emperor Sima. At the same time, the gentry often went to the north to fight for power, which is a political feature.
On the other hand, the Eastern Jin Dynasty also made some achievements in literature, and various poems and songs flourished in the Eastern Jin Dynasty. Famous writers, such as Xie Lingyun, Tao Yuanming and Wang Xizhi, also popularized parallel prose. There are also outstanding achievements in calligraphy and painting, such as the paintings of Gu Kaizhi, a native of the Eastern Jin Dynasty, and the calligraphy of Wang Xizhi, all of which have high artistic value.
The story background of Liang Zhu, one of the four great folklores in China, also happened in the Eastern Jin Dynasty.
Although the Eastern Jin Dynasty was not a period of strong political power in China's history, it was an era of extremely prosperous literature and art. Jiankang, the capital, has become a cultural center, attracting many Buddhist monks and businessmen from Southeast Asia and India. The Buddhist model, which was cast in 338 AD to imitate officials and guests, is the earliest bronze Buddha statue known today. Wang Xizhi, the most influential calligrapher in the history of China, was active in this period. The form of pottery in the Eastern Jin Dynasty is more innovative than that in the Western Jin Dynasty. The tombs of this period were excavated in Fuguishan, Nanjing. According to historical records, this is the location of the royal tombs in the Eastern Jin Dynasty.
From the Tang Dynasty, China's landscape painting began to be divided into two schools: South and North. The founder of the Northern School was Li Sixun, a painter in the Tang Dynasty. He invented the axe chopping method, repeatedly using colors in his paintings and using bright azurite on thick ink spots, which is very suitable for representing the sunny and towering peaks in the north. Song Dynasty painters Zhang Zeduan, Li Tang, Ma Yuan and Xia Gui inherited his painting style and formed their own school.
The Southern School began with Wang Wei, a famous poet who was rated as "painting in poetry, painting in poetry". He used horse-racing pieces and raindrops or rice spots invented by Mi Fei, a painter in the Song Dynasty, to express hilly areas in the south of the Yangtze River in the form of drizzle with ink more than color, and then developed into ink landscapes. Artists such as Wang Meng and Ni Zan developed into the Southern School style.
In the Jin Dynasty, the frontier nationalities entered the Central Plains and were assimilated into the Xia nationality after the national conference, and the grassland culture brought by nomadic nationalities was also integrated into the Central Plains culture. The Han people in the Central Plains went south, which promoted the great development of the south, especially Jiangnan. During the Jin, Southern and Northern Dynasties, great ethnic migration and cultural blending led to the cultural division between the north and the south, and the Yellow River basin was reduced from the original Central Plains to the north, which was called the South with Jiangnan as the center of gravity. At that time, the world was in chaos, and most scholars did not attach importance to morality, so Confucianism declined. Broad-minded people, seeing the decline and chaos, don't want to hide it, so they trust and let go, and then open the wind of talking. The prosperity of the Jin Dynasty, the chaos of the world is not over yet, and the followers of Xiang embroidery are beneficial to Feng Xuan. With the intersection of metaphysics and Indian Buddhism, China culture gradually formed the fusion of Confucianism, Buddhism and Taoism, and Taoism and Buddhism gradually extended to the lives of ordinary people during this period.
Although China's culture declined in the Jin Dynasty since the end of the Han Dynasty, there were also new developments in philosophy, literature, art, history and science and technology, such as Wang Xizhi's calligraphy and Wang Xianzhi's and Gu Kaizhi's paintings. The social problems in the Jin Dynasty mainly revolved around the clan, which constituted the upper class of society and had a profound impact on this period. At that time, the official school was sluggish, and the academic prosperity of aristocratic families, especially those in the south, became the most important form of cultural inheritance and development.
The academic thought of Jin Dynasty experienced the transformation from Confucian classics to metaphysics. Speaking freely is popular among scholars and officials. At the turn of Wei and Jin Dynasties, Sima attempted to seize the throne, which led to political repression and social unrest. He said that "there are many reasons in the world at the turn of Wei and Jin dynasties, but there are few celebrities", and the etiquette of respect and inferiority is hypocritical or contemptuous. At this time, the people were worried about stealing security, so they changed to make it clear, put aside reality and focus on reason. Confucianism has been broken and trivial in the end, emphasizing textual research and neglecting righteousness, which makes the thought in an empty window. For these reasons, metaphysics developed and prevailed in 240-249.
Metaphysics and Taoism are not the same thing His major works are Laozi, Zhuangzi and Zhouyi, which are collectively called San Xuan. The core of thought is "nothing", and metaphysicians believe that "everything comes from nothing". But it can dominate everything. Metaphysics advocates "ruling by doing nothing" in politics, integrating Confucian "Ming Jiao" with Taoist "Nature" and advocating that "Ming Jiao comes from nature". This argument holds that there is an undeniable relationship between the world and the world. Due to the requirements of "Shuntian know life" for ordinary people, it was welcomed and strongly advocated by those in power.
As early as the Cao Wei period, Yan He and Wang Bi put forward the theory that "Ming Jiao comes from nature".
The representatives of metaphysics in the early years of the Western Jin Dynasty were the Seven Sages of Bamboo Forest. Their thoughts were different, but they were mainly represented by Ji Kang and Ruan Ji. They advocate the attitude of "governing by doing nothing" and "teaching more and letting nature take its course". Expose the hypocrisy of Sima Group's "bright coke" and spurn the so-called "bright coke" etiquette. However, due to the extreme development of the concept of "letting nature take its course", it presents a bohemian and dissolute life. In the late Western Jin Dynasty, the representatives of metaphysics were Pei Wei and Guo Xiang. Pei Wei put forward a revision of "letting nature take its course" and advocated "respecting ontology" to correct "the disadvantages of false birth". Guo Xiang further proved that "famous religion" is "nature", and the development of metaphysics came to an end. At this time, the wind of gossip also spread to the political arena, and dignitaries also talked about Hyunri, showing a group of dignitaries who were alive and about to be born.
During the Eastern Jin Dynasty, dissolute behavior was somewhat restrained, but due to the advocacy of court dignitaries, the wind of speaking freely prevailed. At that time, the clansmen lived a rich life, and they liked to talk about Hyunri in famous ancient temples and villas and by the lake, becoming social activities. Regardless of the specific affairs, the imperial court and clan talked about Hyunri all day, which formed a decadent value concept, which led to the Eastern Jin court avoiding the important and neglecting the important. Due to the eastward spread of Buddhism, Xu Yi and Sun Chuo joined Buddhism in their conversation and interacted with metaphysics.