Fuchun Shan Jutu is set in Fuchun River, Zhejiang Province, with elegant ink, proper arrangement of mountains and water, and varied ink colors.
is a paper ink painting created by Huang Gongwang, a painter in the Yuan Dynasty, in 135. It is one of the top ten famous paintings handed down from ancient times in China.
Fuchun Shan Jutu is known as the "Lanting in Painting" and is a national treasure cultural relic.
Huang Gongwang was painted by his younger brother Zheng Zun (a useless teacher), and changed hands several times, and he was beheaded for "burning paintings for human sacrifice". The first half of the volume: the remaining mountain map, now in the Zhejiang Provincial Museum; The second half volume: Useless Teacher Volume, now in the National Palace Museum in Taipei.
painting content
Fuchun Shan Jutu was originally painted on six pieces of paper, and six pieces of paper were mounted to form a long scroll of about 7 cm. However, Huang Gongwang didn't necessarily conceive the structure according to the size, width and length of each piece of paper, but let the individual's free creation relax between the mountains and rivers, which can be seen from a distance. This kind of browsing, moving and overlapping viewpoints are either wide-angle or close-up. In the browsing process, the way of visual viewing is extremely free and unrestrained, and the angle is also very ever-changing.
the first part: the picture of the remnant mountain started from a mountain with a strong indomitable spirit, and it was a long and huge work, which kicked off. On the picture, the peaks and peaks converged sharply, round and honest, and slowly and upward mounds were piled up layer by layer, and then turned to the left and slowly tilted. Huang Gongwang used his most unique brushwork "Long Pima" to brush down forcefully with the center of a writing brush to form the soil of the picture.
The development and changes of the mountains in the second part have taken a turning point. With the changes of the levels of the mountains, the trees, slopes, houses and boats in the river in the painting have a bleak feeling surrounded by mountains and Shan Ye people. The second part will also come to an end across a waterway. The main mountains are on the left, and all the mountains echo on the left, while the nearby pine and cypress swing slightly to the right, echoing the distant mountains from a distance, connecting the past with the future, and the road turns back to the peak.
From the second part to the third part, the ink color changes the most, and the space changes the most. The second part also echoes the third part. Huang Gongwang's brush suddenly turns, slightly uses the dyed slope and the calm river surface, and extends backwards. The picture changes from dense to comfortable and beautiful, and the water waves, silk grass, wide water and fine sand are outlined with thick ink and fine pen, and the scenery is smart. Where does the water come from? It comes from the clouds in the sky. In the Tang poetry, it says "I will walk till the water checks my path, then sit and watch the rising clouds". If you follow the picture, the poor place on the Fuchun River is its mouth, and then you feel that poverty is despair, but you should sit down and see the clouds rising, and the clouds are just another phenomenon of life. Therefore, Huang Gongwang also turned these philosophical and literary things into the interactive relationship between rocks, water and sand and Yun Qi.
in the fourth part, the whole painting has the least pen and ink, and there is no pollution, only mountains and only water, which restores the true nature. The composition spans the fifth part, a piece of water and sand, and the longest blank space, just like all seasons of the year, time passes and years rush. In the painting, there is a small tree slope with withered moss, and a small bridge on the river bank connects the fifth part. The six parts of Fuchun Shan Jutu are also very similar to spring, summer, autumn and winter. From the first three parts, they are prosperous and magnificent, to the fourth part, which is like autumn and winter in time. Look at everything, the prosperity is exhausted, and the silence is boundless.
The white sands in the fifth to sixth parts are far away, and there are two boats parallel to the river in the blank space. The fishermen on board are just a sight, a tiny figure and a tiny life, just like a dust in the blank space. A distant mountain, pen line drawing, ink dragging, intertwined, has continued in the back of a large blank space.
Creative background
Yuan divided the people in the world into four categories, followed by Mongolians, Semu, Han Chinese and Southerners, and Huang Gongwang became a "fourth-class citizen". After the destruction of the country, the adherents of the Southern Song Dynasty tried to survive in contempt and humiliation. For example, Gong Kai, a adherent of the Southern Song Dynasty, expressed his sense of loss after the national subjugation in the volume "Thin Horse Map", and the literati who shared his feelings followed suit and wrote postscript after the map. This state of mind of Jiangnan literati has been going on for nearly half a century.
when Huang Gongwang was young, he worked as a local official, first as a bookkeeper, and later, when he was about 45 years old, he worked as a clerk under a bureaucrat named Zhang Lv. Later, because Zhang Lv committed a lawsuit, Huang Gongwang was framed and imprisoned unjustly. After he got out of prison, he stopped asking about political affairs and wandered around the rivers and lakes. At one time, I made a living by selling divination. Later, he participated in Quanzhen religion, which advocated the unity of Confucianism, Buddhism and Taoism, and he even saw through the world of mortals. As a result of long-term wandering mountains and rivers, I began to take an interest in rivers and mountains. In order to appreciate the charm of mountains and rivers, when he lived in Yushan, Changshu, he often observed the changing and wonderful scenery of Yushan, which was learned from his heart and conveyed by his pen. Some of his landscape painting materials come from these mountains and forests. When he lived in Songjiang, he observed the landscape to the point of infatuation. Sometimes he sat in the mountains all day and forgot to eat or sleep. When he lived in Fuchun River, he always carried a leather bag and built-in painting tools. Whenever he saw the scenery in the mountains, he would take exhibition paper and write it down. There is Daling Mountain in the north of Fuchun River, where Gongwang lived in seclusion in his later years. He took Daling Mountain as his teacher and painted the Fuchun Daling Map.
Fuchun Shan Jutu took about seven years from conception, writing to drawing. In order to paint this painting well, he worked tirelessly all day long, rushing around the banks of Fuchun River, observing the wonders of the changes of smoke and clouds, and enjoying the victory of fishing in Jiangshan Beach. He took a pen and paper with him and sketched at any time when he met a good scene. Many mountain villages along Fuchun River left his footprints. In-depth observation, real experience, rich materials, so that the creation of Fuchun Shan Jutu has a solid life foundation, coupled with his perfect pen and ink skills in his later years, so he wrote calmly.
art appreciation
theme
Landscape painting is not a simple description of natural scenery, but an expression of the painter's attitude towards life and a reflection of the painter's pursuit of life. Fuchun Shan Jutu depicts a long river, which flows through shoals, rapids and peaks in a thousand years' history. The first paragraph is the feeling of summer, and in the second paragraph, there is an autumn scene, and the leaves are partially faded, all of which are painted vertically, as if the prosperity is exhausted.
Fuchun Mountain Residence is not only a painting, but also a philosophy and an attitude towards life, which enables the creator to turn the 9-year-old national subjugation pain into another thing, be open-minded, get rid of the pain of alien rule, and return to the landscape, regardless of the rise and fall of the dynasty, just come back and be himself and be a simple self. Zhang Shicheng was fighting for the world, Zhu Yuanzhang was fighting for the world, and the rule of the Yuan Dynasty was in jeopardy. When the author was in his eighties, he also felt that the rise and fall of the dynasty was not the most important thing, but whether there were "long mountains, chaotic clouds and green mountains". There are also images of fishermen, firewood and scholars in the painting, who live in seclusion in the mountains and forget in the rivers and lakes.
Painting method
1. Overall style: The hook and twist of the rocks in Fuchun Shan Jutu are abrupt and natural. Long and dry, it's full of skill, free and easy, and it's quite aura. The ink in the whole picture is elegant, and only a layer of almost transparent ink is covered on the rocks, and the sand stains and wave shadows in the distant mountains and riverside are dyed with a little dark ink, and the moss and leaves are dotted with thick ink, which is eye-catching and natural. The whole picture is full of beautiful forests and lush vegetation, full of hermit wandering nymphs and indifferent poetry, which exudes a strong flavor of Jiangnan literati. The special features of the quiet and scattered Yuan painting and another reform of China's landscape painting were completed, and the lyricism of the Yuan painting was also reflected in this volume.
2. Composition: "Fuchun Shan Jutu" describes the early autumn scenery on both sides of Fuchun River, which is fascinating and fascinating. In the bushes, or fishermen fishing, or sitting alone in a thatched pavilion, leaning against the railing, watching the ducks float and sink in the water. Forever and ever, as if time is still, I forget both things. Close-up view of the water color on the bank, with hills and hills, hills and sand, and distant mountains looming and slowly unfolding, but it is refreshing to feel the boundless river and the color of Tianshui. Sometimes the river is far and wide, and it is a drop in the ocean; Sometimes approaching the shore, you can take a closer look at the leisure and quiet of the fishermen in the pine forest. The water waves at the foot of the mountain are surging, and it is refreshing to fish alone on the river. Then dozens of mountains are rolling, and the peaks are competing, and finally the peaks are protruding and far away. The mountains are dotted with village houses and thatched pavilions, with lush trees, dense trees, heavy trees near, smoke in distant trees, fishing boats fishing in the water, and well-arranged landscapes with distinct levels.
"Fuchun Shan Jutu" is a kind of horizontal scroll way, which constructs the landscape scenery on the same level according to people's normal vision, and it is a kind of composition way that extends continuously from the plane. On the screen, the painter designed the layered landscape, and the front and back of the mountain are arranged from near to far, which gives an effective connection between the front and back scenery in the way of composition. Between heaven and earth, all the scenes constitute an organic whole, showing the real feeling of space in the blank, and also highlighting the characteristics that the place without painting is also a wonderful place. Throughout the painting, we can see Mr. Huang Gongwang's unique views on painting layout, image arrangement and space exploration. It is noteworthy that in the composition of painting, Huang Gongwang adopted a broad way to realize the transformation of painting composition. In landscape painting, the four painters in Yuan Dynasty adopted a painting technique from near to far, which has a very clear chromatography, showing the broad meaning of the picture, leaving viewers with a broader thinking space.
3. Dry Ink Method: In Fuchun Shan Jutu, the audience can't see the expression with large thick ink, but the taste of autumn is reflected in the elegant style. The painter adopts the traditional brushwork of literati painting to express the picture scroll. In painting, most of them are expressed by dry lines. Thick ink and wet ink can only be seen in the description of trees. This is the so-called characteristic of moistening in the dry, which is both casual and soft. In the performance of mountains, whether it is thick ink or indifference, the dry style is used to hook the effect, gradually from light to thick, and finally through thick ink to hook it, so as to achieve the same effect. When drawing a tree, the trunk is either boneless or sketched with two simple strokes, and the distribution of leaves is patchy. In Fuchun Shan Jutu, the painter realized the change between form and ink with one stroke. The painter's pen is full of water, and the change of the whole painting is very rich by combining the characteristics of dots and dyes. The thick ink sketch of the tree is in sharp contrast with the mountain shape, which is dry and wet and elastic. In Huang Gongwang's view, it is very important to use ink. First, we can gradually transition from light ink to thick ink, and we can see the characteristics of moistening on paper. This view of the painter is the understanding of the people in the Yuan Dynasty in the use of pen and ink, which highlights an effective combination between pen and ink and achieves the effect of both form and spirit.
4. Dry brushwork: In Fuchun Shan Jutu, the viewer sees that the author's brushwork is pure brushwork, and does not use more thick brushwork to express the picture scroll, but uses elegant brushwork to simply outline the autumn charm in the picture scroll. When painting and calligraphy are expressed, Mr. Huang Gongwang uses dry lines to express the picture scroll, which is a traditional expression of literati painting. In the application of ink method, only when sketching trees, thick ink and wet ink are used, and other things are described with dry ink with light ink, which highlights a special ink method with indifferent dry pen. For example, when sketching the mountain, use the dry pen, paint it with light ink, close it with thick ink, and combine light and dark, so that the whole picture looks light and decent, which is obviously a momentum in one go. The distant mountains and continents in the painting are all depicted in light ink, but only a little trace can be seen, only its shape and ink can be seen in a light stroke. The hillside and water lines are re-hooked with thick ink, light ink and dry ink, which makes this picture show the characteristics of combining light and shade, and it is natural and the paper performance effect is very good. The thick ink stippling of the tree and the light ink depiction of the mountain are a very sharp contrast. The combination of dry and wet, light and thick, the whole painting presents a picture with rich rhythm changes.
5. Pima Brushing Method: In Fuchun Shan Jutu, according to the extension of Fuchun Mountain vein, the painting method of "long Pima Brushing" is applied, and the river surface is represented by a horizontal long curl, and the shallow water where it meets the mountain is also represented by a long line rubbing. The peak and the peaceful slope are described by horizontal dots in shades, and the jungle is described by the changed "Mi Dian Tuan" method. The thickness changes, the combination of gathering and scattering, the combination of near and far shades and dry and wet, and the desolation is boundless. The peaks and trees in the distant mountains are interspersed with light ink and small vertical points, which are fine on the top and thick on the bottom, like points that are not points, like trees that are not trees. Most of the rocks are rubbed with a dry pen, and the lines are dense; Long Pima is the main one, with a little Jie Suocun; The turning point of the pen is flexible and free, and the ink is mixed with reality and dryness.
Image
There are seven people in the painting. The first ones are fishermen and woodcutters. Fishermen are fishing and woodcutters are chopping wood. Fishermen and woodcutters are definitely not ordinary people. In the Yuan Dynasty, most people who were not officials lived in seclusion, fishing and chopping wood for a living, or set up a fortune-telling booth on the roadside to sell divination for a living. Then there is a scholar in Maoting, wearing a tall hat, sitting in the pavilion watching ducks and looking at fishermen. Scholars can become fishermen and fishermen can become scholars, but their roles can be changed. The creator actually has a metaphor here, that is, two people with different roles. A scholar can release himself into the landscape and become a fisherman, or he can come out and become an official in the imperial court. In the past society, there was such a possibility of exchange. The last two boats were on the river, and they saw four people on board.