Peak experience@Guqin in Chinese painting

The guqin is the earliest stringed instrument of the Chinese nation and a treasure of traditional Chinese culture. She is cherished by the world for her long history, vast literature, rich connotations and far-reaching influence. Guqin has been the object of painters' paintings since its creation. The actual object unearthed from the tomb of Zeng Marquis Yi in Hubei Province is more than 2,400 years old. Since the Tang and Song Dynasties, fine guqin products have been handed down from generation to generation. There are more than 100 kinds of qin music from the Southern and Northern Dynasties to the Qing Dynasty, and 3,000 qin tunes. There are also a large number of documents about qin players, qin theory, qin making, and qin art. The richness of the remains is the most abundant among Chinese musical instruments. Guqin was also introduced to East Asian countries during the Sui and Tang Dynasties, and was absorbed and inherited by the traditional culture of these countries. In modern times, with the Chinese footprints spreading all over the world, it has become a symbol of Eastern culture in the minds of Westerners.

In the painting, Boya seems to be playing the harp in the clouds, with his sleeves swaying and flying in the wind. There is a red bird listening to the harp next to him. During the Wei and Jin Dynasties, there were years of war. This painting, between realism and freehand brushwork, reminds people of the world to yearn for freedom and ease.

"Qin Qin Tu" depicts the scene of ancient literati making a beautiful and charming guqin. There are 14 people in the painting, who are either breaking boards, making strings, trying the piano, or watching the conductor. There are also several waiters (or apprentices) holding fans or cheering. Because most of the people shown in the paintings are literati, they all have long eyebrows and slender eyes, square faces, solemn expressions, majestic air, and elegant demeanor. The lines of the characters' clothing patterns are thin, strong and graceful, and are quite artistically expressive.

What is recorded in the painting is the story of Emperor Wenxuan of the Northern Qi Dynasty, Gao Yang, who ordered Fan Xun and others to publish and compile the Five Classics and other histories in the seventh year of Tianbao in the Northern Qi Dynasty (AD 556). There are three groups of figures in the painting. In the middle are four scholar-bureaucrats sitting on the couch. Some are unrolling their scrolls and meditating, some are writing, some are about to leave, or some are trying to persuade them to stay. Their expressions are vivid, and the details are also very subtle. The maids standing next to them are serving. They also behaved differently. The brush strokes in this painting are fine and smooth, and the colors are simple and beautiful

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This picture is also known as "Picture of Ladies Playing the Piano". It depicts three noble ladies sitting in the courtyard playing the piano, drinking tea and listening to music, served by two maids. It shows the leisure and tranquil enjoyment of noble women. Life. There are osmanthus trees and sycamore trees in the picture, which means that autumn has arrived. The ladies seem to have had a premonition that after the flower season, they will face withering. The veils on the shoulders of the women who were tuning the piano and sipping tea slipped down, showing their lazy, lonely and sleepy dejected state.

The protagonist in the painting is sitting on a stone pier in the middle, dressed as a Taoist priest in yellow crown and silk robes. He lowered his head slightly, put his hands on the piano, and gently plucked the strings. There are three people listening. The person on the right is wearing a hat and a red robe, sitting with his head bowed. One hand is holding a stone support, and the other is holding a fan and pressing his knees. He looks like he is completely intoxicated in this moving melody. The person on the left is wearing a hat and a green robe, sitting with his hands folded. , looking up, as if looking away, in that state, his mind was aroused by the wonderful sound of the piano, and he was thinking about it for a long time; beside him, stood a boy with a shaggy hair, with his hands folded across his chest, watching the protagonist from a distance, I am listening carefully, but my mood is relatively simple. The three audience members, with three different expressions, are all portrayed vividly and lifelike.

In the picture, a scholar is sitting near the stream, with sparse trees, and a profound artistic conception. The brushwork is strong and vigorous, and the ink is dripping. Looking at it is like hearing the sound of a piano like running water. Guo Xi has a saying: "A mountain can be measured by water." Water is the eye of the mountain. It is related to the spirit of the painting and is the most difficult to paint. The stream in this painting is only outlined with simple lines, leaving no white space. It twists and turns, disappears and appears, making it difficult to find its trace, showing the clarity and flow of running water. Xia Gui used a large amount of white space to express the vastness of the country. He did not describe too many details, but focused on expressing the movement of the characters' bodies. The entire painting was simple but full of energy.

The style of this picture inherits the green landscape painting style of the Northern Song Dynasty. By the stone's edge and by the water's edge, ancient pines and crotch trees grow. The master played the harp with great concentration, and his close friend sat and listened, leisurely and thoughtfully. The waiter stood sideways, looking attentive. The hillside in the distance is gentle, and the water and sky are the same color, gradually turning into mist. The picture is colored green, and the foot of the slope is covered with ocher. There is a postscript by Feng Zizhen on the upper right side of the picture: "... When Uncle Yu came to visit, he showed Zhao Ziang a picture of playing the piano and admired it..." On the right side of the middle part of the picture, there is the inscription "Guo Qu attached appraisal" and the postscript .

The painting is a story of mountains and flowing water. In the picture, Boya plays the drum and harp, and Zhong Ziqi listens to it. The picture has a symmetrical structure, the characters have vivid expressions, and the brushwork is fluent and vigorous. There are more light ink renderings, which are slightly different from the general line drawing method. In the picture, Bo Ya has his chest bare and his sleeves rolled up. The lines on his clothes are drawn with a thin and vigorous brush and are full of changes. They may be straight or round, flowing and flying, and have a sense of rhythm in addition to their fineness.

The sky is clear, the leaves have fallen, and the geese are low. Three noble men sit under a long pine tree, one of them plays the harp, and the two of them talk about it in a serious way. The rhyme of the pine wind and the harp embodies the literati's leisurely mood.

The shape and texture of the sloped rocks and the crab-claw-like dead branches obviously come from Guo Xi’s painting methods.

Color painting of pine shade banana leaves. Tongyin Maozhai. Two people sat facing each other in the studio. A boy arrived carrying a harp. A crane pecked at the moss. The thatched eaves are filled with shrubs and clear shade. The boy holds the seven-foot harp far away. Flowing water and high mountains are a source of joy. Why go to the city to find a close friend.

The picture shows a bachelor sitting on a table with a piano on it. The stone table is made of Taihu stone. There are also calligraphy and paintings, teapots, cups and other objects. The bachelor held Ruyi in his hand and looked at the two female disciples in front of him. Two disciples were sitting on a round stool. One was looking down at the paintings and calligraphy on the desk, and the other was arranging flowers in a vase. This picture shows the scene of a bachelor teaching skills to a female disciple.

This picture depicts the confrontation between the left and right outside the city gate, with the Yan Yan Jue Mo Mo. On a flat road at the foot of the mountain, there were three old men riding donkeys, accompanied by servants carrying bags and harps, looking for friends and showing great affection. Surrounded by century-old trees, there is a quiet room and Mingxuan, which is elegant and pleasant. Waiting for visitors, echoing inside and outside. The display layout is carefully arranged with clear priorities. Thatched huts, ancient trees, and old men all capture the essence of the story. The cliffs and city gates are summarized concisely and the brushstrokes are vigorous and extensive.

Although this painting is not signed by the author, it was actually painted by the Italian painter Castiglione, and the Chinese painter added the landscape background. In the painting, Emperor Qianlong is dressed in Han attire, playing the harp near a lake, with mountains and flowing water in the distance, a metaphor for his state of mind.

There are only a few free strokes in the painting. Only light ink is used to outline a pine branch and the piano-playing masters sitting scattered under the pine. It can be seen that the brushstrokes are superb and far-reaching. Zhang Daqian once wrote a couplet in Faquan Temple: "In front of the rock, I can watch the clouds rising with my pole, and I am listening to the Hengqin under the pan, waiting for the crane to return."