What are the causes of landscape painting?

China's landscape painting is called "landscape" for short. Chinese painting with landscape as the main description object. It was formed in Wei, Jin, Southern and Northern Dynasties, but it has not been completely separated from figure painting. Independent in the Sui and Tang Dynasties and mature in the Five Dynasties and the Northern Song Dynasty, it became an important branch of Chinese painting. Traditionally, it is divided into green landscape, golden landscape, ink landscape, light crimson landscape, small green landscape and boneless landscape according to painting style.

origin

Compared with western landscape painting, China landscape painting is at least 1000 years old. In fact, it is a history of China's thoughts. As early as 7000 years ago, the awakening of the ancients was recorded in the form of patterns. Hemudu culture in Neolithic age has expressed the connotation of conceptual culture through line engraving. The origin of settled farming civilization not only makes people realize the beauty of tools, but also the beauty of metaphysics above tools. Art is not only an imagination to conquer nature, but also a symbol to conquer nature. From the very beginning, ancient times and nature used artistic methods to interpret life, the discovery of logic and the appreciation of art, interpreted people's eyes, and made a clear picture of China's schema of harmony between man and nature from the chaos. Since Yangshao culture, the relationship between man and nature has been symbolic. In geometric decoration technology, the concepts of symmetry and motion have been obviously applied to the expression of time and space. What is particularly touching is the picture of worshipping Xiaomi God. Under the background of building a country by agriculture, it has always been a practice to offer sacrifices to the millet god. The relationship between crops, fields and people in this painting conveys our ancestors' simple understanding of the meaning of life. Based on the understanding of the natural relationship among people, animals and plants, social consciousness has become the most critical origin of civilization. The village map of Cangyuan culture describes human understanding of "home" in the form of rock paintings. The most visually interesting thing about this painting is the road connection centered on the village, and the gradual deepening of scenes such as holding prisoners, driving away animals, offering sacrifices to heaven, and jumping around the front center. This painting strongly reflects the depth of the plane. With the development of art, the relationship between man and nature, man and society is deepening and developing.

Qin and Han dynasties

During the Qin and Han dynasties, the scenes depicting working life changed from rural areas to imperial power, and murals in temples and palaces became the mainstream of the times. This belief orientation of using the palace as a metaphor made China's fine arts get rid of its primitive form. The ruling class scholar-bureaucrat culture began to dominate. Literati culture has been divorced from local culture. For landscape painting, this separation is profound. If we carefully study the courtyard map of Qufu stone carving, we will be shocked by its optical illusion creativity. This is two kinds of art of visual conflict: on the premise of satisfying the problem of head-up view, the translation overlap and inclination overlap of buildings constitute the main aspects of contradiction, and the collision of forces produced by two different perspective rules makes the picture have a surreal three-dimensional sense. Interestingly, the artists of the sages used the overlapping perspective rule from the beginning, and the sight was deep but did not disappear, and they could conflict with the two perspective rules of forward-looking and tilting in composite vision. It should be said that this law is nearly two thousand years earlier than the present western cubism. As this book has repeatedly said, the wisdom of our ancestors can never be explained clearly in a few words. As long as we seriously rely on scientific eyes to enter the thoughts of sages, we will certainly find that the classic ways of Confucianism can tell us more and more. This artistic touch, which is formed by the conflict of visual forms, can be more richly experienced in ancient classics such as the spring rain picture depicted by stones, the Zhaimen picture painted by bricks, and the harvest shooting picture. A very obvious direction is that with the deepening of the relationship between man and nature and society, the way people look at it has also changed, from the original concept of image, decoration for use and geometry for drawing to the classic schema of will for image, life for use and realm for drawing. This process of seeing, the accumulation of knowledge and the budding collection of landscape painting elements laid the foundation for the emergence of landscape painting.

Wei and Jin landscape poems

Experiencing the eternity of the universe from the perspective of individual life and appreciating the freedom of people in it is the beginning of landscape poetry in Wei and Jin Dynasties. The significance of Xie Lingyun lies in paying attention to the support of form when writing consciously and pursuing metaphysical transcendence from the ontology of philosophy. It is Tao Qian who truly represents China's landscape feelings. Tao poetry is philosophical and profound beyond metaphysics. It did not give up its understanding of the universe ontology and life ontology of metaphysical poetry, and captured and embodied the essence and significance of this understanding through some media, turning them into tangible things. An artistic idea is to find the shape of the invisible structure that you have experienced personally. The landscape vegetation in Tao's poems is sincere and affectionate, and it is a philosophy that embodies China's spirit, detached, plain and neutral.

The establishment of landscape painting

Part of Gu Kaizhi's "Luoshen Fu Tu"

At present, there are many opinions about using the word "Li" to correct the name of landscape painting, including Gu Kaizhi's "Fu Tu of Luoshen" and "Zhen Tu of Nvshi". In the analysis of this kind of copywriting, we can see the complex expressions of peaks, stones, clouds, water and trees. This artist, who "has made contributions that the predecessors have not made, and is the teacher of future generations", moved landscape painting to the performance stage of China fine arts for the first time, and his painting Yuntai Mountain can be regarded as the pioneering work of landscape painting theory. Although the center of the topic is the story of Zhao Sheng who gave his life as a teacher, his description of the environment has become a reflection of China's landscape painting. The establishment of this template function mainly comes from the following points: a. The mountain has a light-receiving surface and a back surface, and the water has a reflection. Xiangyun can be an important observation in the east and west, and the "sky blue" of water can show the weather with the sun. B. Arrange the mountains far and near in the order of things to create a high and dangerous situation. C. The layout of the middle section mainly emphasizes the "confrontation" taking advantage of the trend, which has relative significance. D East, West and Zhongshan should use "compactness" to connect long scrolls. In more than one third of the mountain, the air is purified and divided into two parts. Gu's theory is important because he put forward the linear form of clouds, the overlapping form of bird's-eye echo and the spatial model of three mountains and three points. Song's Preface to Landscape Painting, known as China's first theoretical work on landscape painting. Zong put forward the famous perspective rule: "draw three inches vertically, as high as Chiba;" A few feet across the ink, a hundred miles away. "Wang Wei, a contemporary of Zongshi, is also a figure who indulges in mountains and rivers. In his painting, he put forward "looking at autumn and flying clouds"; Facing the spring breeze, thinking about the vastness ",and" a pen for a tube of space; Judging from the shape of the body, eyes are as bright as eyes. " It can be said that in the Wei and Jin Dynasties, the core belief that China's landscape painting was far-reaching and close to nature established a logical starting point, and the principle of spatial vision was logically deepened.

Edit this green landscape.

You Chuntu by Zhan Ziqian

Song Huizong's title "Looking for a Thousand You Chuntu" is a pioneering work in landscaping. On the basis of the Six Dynasties, this painting created a rich and colorful turquoise, and opened a green landscape between Li and his son. The appearance of this painting indicates that landscape painting has become an independent painting discipline. Although there are many controversies about the author and age in academic circles, this does not prevent people from understanding the first independent landscape painting. It was General Li and General Li who created modern magnificent landscape paintings. Li Sixun, then the general of Wuwei, marked the changes with a picture of a castle in the mountain, and his pen and ink reached the telepathic position of "listening to the underwater sound at night". His son Li Zhaodao "changed his father's inclination, which is great." . Li Er's green landscape can be said to have influenced hundreds of generations. Some people in the field of painting history call it the ancestor of the North School, which has been followed in all previous dynasties. Guo, Fan Kuan, Liu Songnian, Xia Jue, Wang Jinqing, Wang Ximeng, Zhao Boju, Leng Qian, etc. Have learned from it. The origin of landscape painting has made great changes in Chinese painting, forming a pattern of landscape-oriented, landscape, figures and flowers and birds alternately developing. Although landscape painting started late, compared with figures, flowers and birds, it has always been the main vein of China's aesthetics. This is a phenomenon worthy of special study. Why? Here are some basic understandings:

Know the mountains and play with water, and feel the circle.

The origin of landscape painting is the historical fusion of the artistic conception of harmony between man and nature in Chinese painting, and it is the concentrated embodiment of the consciousness of knowing mountains, enjoying water and enjoying hometown. It can be said that the landmark trees of green mountains and rivers have established an important tone of China's aesthetics: leisure and leisure cultivation (this cognition became the benchmark for establishing faith in the Yuan Dynasty). In front of the timeless mountains and rivers, people taste depression, emptiness, silence and tranquility. The "Tao, reason and nature" mentioned by the saints are all in front of mountains and rivers, so that they finally become sentimental. This spirit of taking mountains as pleasure, water as knowledge, emptiness as enlightenment and distance as awareness is established. This natural ideal of harmony between man and nature with hope, feasibility, swimming and livability is a spirit of scholar culture and an artistic embodiment of simple philosophy of life. China's philosophy has found richer and more specific connotations in the landscape of China.

The meaning is getting bigger and bigger.

One of the most important aesthetic propositions in China's classicism is that the smaller the bigger. In the classic analysis, we point out that transcending the image and pursuing the aesthetic quality of implication, implication and phonology is an artistic understanding of the proposition that "the smaller the bigger". In fact, this is the art of China people looking at images with special optical illusions. The truth that Chinese painting is a thousand miles away is the artistic enlightenment of this proposition. It not only tells us philosophy, but also tells us a very unique perspective principle, which makes people feel the unity of things and me in a relatively stable overall situation, like a special elephant and a big voice. If Chinese painting is moved, the biggest reason is this.

Grammatical rules of subject expression

Any kind of painting, if it wants to be independent from the forest of art, must meet the complex and rich requirements in grammatical structure. That is, this book emphasizes many times that the simplification of natural images must be realized by means of complex optical illusion structure. The historical significance of green landscape lies in: on the one hand, it liberates painting from the personnel use and religious theory of palace murals, so that landscape is no longer the environment and foil of personnel patriarchal clan system, but the main spiritual sustenance. On the other hand, it made a stipulation for landscape painting for the first time in the expression language, and made great achievements in composition, color setting, tree method, stone method, water method, brushwork and theory. It should be said that the systematic and academic cognition of landscape painting has really entered a broad and profound from this time. Special mention is made of the sparse scenery in Wu Daozi. A famous story: Jiangling, thousands of miles away, Wu Daozi died in one day; It took Li Sixun months to finish it. It shows that density and density of landscape painting are completely different in methodology. Sparse volume estimation is the art of edge line (the contour line may not be touched yet). Because this kind of painting is only based on the legend, I didn't see the original, so it is really unimaginable for me who advocates watching carefully instead of listening. I can only leave guesses to imaginative people. All I can do is see for myself. When our eyes moved to the middle Tang Dynasty, two changes caused a new understanding of landscape painting: First, the aesthetic maturity of landscape poetry. Poetic aestheticians such as Wang Wei, Du Fu, Bai Juyi and Yuan Zhen have deepened people's understanding of the beauty of poetry (especially the realm of poetry) from different angles, and poetry into painting has become an important aesthetic paradigm. The first is the development of Zen aesthetics. Taoism has become an important ideological skeleton of scholar-officials. In the process of circular consciousness, awakened by the harmony of "Zen, mind and participation", Zen painting has also become an important mode to establish the environment. Once the poetic realm meets the Zen realm, the realm of images and loud voices in China's landscape paintings will emerge spontaneously. It should be said that China's landscape paintings have their own Dojo and become a systematic ideological framework. The beauty of Confucianism, Buddhism and Taoism and the spark of knowledge flashed and rose in the artistic conception of China's landscape painting. The logic of China's landscape painting is transformed into a new revolution in the collision of ideological sparks.