Chapter 1758 Data Retrieval
The Four Sons of the First Tang Dynasty, also known as the Four Great Masters of the Six Dynasties. Gu Kaizhi was from the Eastern Jin Dynasty, Lu Tanwei was from the Liu Song Dynasty in the Southern Dynasties, Zhang Sengyao was from Wu in the Qianliang Dynasty, and Cao Buxing was from Soochow in the Three Kingdoms.
So not only were the four great masters of the Six Dynasties before the Tang Dynasty, they were also all from Wudi.
Based on the background of Li Erkang Xiling Seal Society, the three people in the room understood that this was definitely a special topic for collection.
There are four famous painters in the history of Chinese calligraphy and painting, namely Gu Kaizhi of the Eastern Jin Dynasty, Lu Tanwei, Zhang Sengyao of the Southern Dynasty, and Wu Daozi of the Tang Dynasty.
Needless to say, Gu Kaizhi is known as the ancestor of painting as he has handed down works such as "Book of Biography of Women", "Pictures of Luo Shen Fu" and "Pictures of Proverbs of Women";
Lu Tanwei is the founder of "Secret Body Painting" , and even brought calligraphy to the The first person to enter painting drew his method from the calligraphy treatise "Bi Zhen Tu" written by Wei Shuo during the Eastern Jin Dynasty. This work explained the methods of holding and using the brush, and listed seven basic stroke writing methods. Zhang Zhi's "one-stroke calligraphy" in cursive script can be regarded as the originator of literati painting, and he is also known as "Gu Lu" together with Gu Kaizhi;
Some people may not know Zhang Sengyao, but the idiom "putting the finishing touch" But he is a household name; he also used calligraphy to paint, imitating the brushwork of Mrs. Wei Wei, and changed his painting method from the "close body" painting method of Gu and Lu, which was later inherited by Wu Daozi. It's called "sparse body".
The evaluation of Zhang Huaiguan and the other three people is: "Zhang gets his flesh, Lu gets his bones, and he takes care of his spirit. The spirit is used to judge the wonderful things, and the movements are in harmony with the spirit."
Wu Daozi goes without saying. Yes, there is a "painting sage" in history textbooks.
Wu Dai is in the wind, Cao Yi is in the water.
There was a period in history when Cao Yi Chushui was mistakenly attributed to Cao Buxing. In fact, the Cao here should be another person, called Cao Zhongda, a foreigner who came from the Western Regions and was good at painting Buddhist statues. .
But Cao Buxing is not simple. According to legend, Kang Senghui traveled to Wu with Buddhist statues. Sun Quan built the Jianchu Temple for him and ordered him to set up statues to walk the path. Cao Buxing saw the Western Buddha statues and moved to Wu. After painting it, Buddha statues became popular all over the world.
What he is best at is large-scale figure paintings. He once tied fifty feet of silk together to draw a portrait, with a clear mind and quick hands. There is no mistake in the character's head, face, hands, feet, chest, abdomen, shoulders and back.
He is the earliest well-known Buddhist painter recorded in literature, earlier than Cao Zhongda, and is therefore known as the "ancestor of Buddhist painting".
Zhang Sengyao has the legend of finishing the painting, and Cao Buxing also has the allusion of "falling ink and turning into a fly".
Pei Songzhi's "Three Kingdoms·Wu Lu" records: "Cao was not good at painting, so Quan made him paint the screen. He mistakenly put down the brush strokes, so he used them to make flies. After entering the imperial court, Quan thought that flies were coming, so he raised his hand to flick them. "
No paintings by Lu Tanwei and Cao Buxing have been handed down in history, while Zhang Sengyao The only painting of "Five Stars and Twenty-eight Constellations of Gods" extant in the world is the copy of "The Five Stars and Twenty-eight Constellations of Gods" by Liang Lingzhan of Shu in the Kaiyuan period of the Tang Dynasty. It has been there for 12 nights and is collected in the Osaka Municipal Museum of Art. Zhou Zhi even visited it with his own eyes.
That was also an orphan copy, and now three of them suddenly appeared in front of me. Together with the previous "The Legend of Martyrs and Benevolence and Wisdom, Volume 2", the fourth cousin who had always been calm and composed could no longer remain calm.
Of course, these pictures cannot be the originals. After all, they are too old and are still copies from the Song Dynasty. However, judging from what can still be seen, these three paintings are no less than the second volume of "The Legend of the Martyr Woman" 》The master of magic.
Xie He, a painter and painting theorist in the Southern and Northern Dynasties of China, had profound attainments in the practice and theory of Chinese painting. His "Ancient Paintings" is now the oldest monograph on painting in my country. , the "Six Methods" of Chinese painting proposed in it had a profound influence on later painters and critics.
The Tang Dynasty art theorist Zhang Yanyuan's "Records of Famous Paintings of the Past Dynasties" records: "In the past, Xie He said: There are six methods of painting: one is the vivid charm, the second is the bone method of using brushes, the third is to respond to the image of the object, and the fourth is to add color according to the category. , Wuyue business location, "Six Days of Translation." This is a summary of the greatest painters of the time by the greatest painting theorist in the Southern and Northern Dynasties. It represents that Chinese painting has truly reached a considerable artistic peak and officially has a philosophical system.
Some scholars have suggested that the Six Methods theory may not have been originated by Xie He, but existed in the painting theory before Xie He. For example, Gu Kaizhi's "On Painting" in the Eastern Jin Dynasty already contained the Six Methods. The prototype of it, in any case, the Six Methods Theory is the basis for learning Chinese painting.
But it is easier said than done. As the saying goes, "Although there are 'six methods' in painting, it is rare to do it well. But since ancient times and now, everyone has been good at one."
From the perspective of Xie He's standards, A truly masterpiece of a masterpiece needs to have its inner essence far beyond the perfection of the external form of the work, and directly grasp the inner essence of art. The so-called "exhausting the rationale and exhausting the nature, and the deeds being able to express the image" refers to being able to exhaust the inner spiritual temperament of the object and reach a superior ideal state, rather than being limited to superficial descriptions and depictions.
In this regard, Xie He took Lu Tanwei as the benchmark and the "first person of the first grade" and Cao Buxiu as the "second person of the first grade".
Although it is only a copy, it still faithfully conveys these aspects of the painting. Based on what has been learned so far, Zhou Zhi, my fourth cousin, and my fourth aunt all believe that the four scrolls are all authentic Song Dynasty paintings. Undoubtedly a copy.
After Cao Buxing's "Statue of Ruyilun Bodhisattva", a postscript confirms the identity of the painting. Mi Fu, a famous calligrapher in the Song Dynasty.
Ruyilun Bodhisattva is actually Guanyin Bodhisattva, Ruyilun Guanyin, Guanyin Bodhisattva's Sambhogakaya, that is, the true body of the Bodhisattva as the saying goes. Countless eons ago, he was the prince of the Holy King Wu Pure Thought of the Wheel.
The Avalokitesvara Bodhisattva during the Southern and Northern Dynasties is different from that of later generations. It is a statue of a rough and strong man, just as the "Huayan Sutra" says: "The brave husband Guanyin."
Mi Fu said in the postscript This painting is In addition to "The Ruyi Wheel Bodhisattva", Cao Buxing's paintings still exist in the world, and later entered the Forbidden Secret Pavilion. Mi Fu was quite proud of the family's collection and believed that the painting It shouldn't be any worse than "Soldier Diagram".
This postscript immediately reminded Zhou Zhi: "How about we search in the database?"
"Search for what?"
"I'll show it to you and you will know." Zhou Zhi dug out his schoolbag, took out the notebook and moden he was going to use for work, connected the phone line to his fourth cousin's house, and then started to turn on the computer. After entering the number into a software, I heard moden chirping, and the process of dialing and handshaking began.
After a while, the green light of moden turned on, and the software also prompted that the connection was completed. Zhou Zhi opened the Clover browser, entered an address, and after pressing Enter, an unusually concise screen appeared.
Zhou Zhi first tried to enter the words "Mi Fu" and "Ruyi Lun" on it. After pressing Enter and waiting for a while, text began to pop up in the text box at the bottom.
A lot of it is useless information, but one paragraph has attracted everyone's attention:
Mi Fu·"History of Painting"
Version · Collection of the imperial palace of Wuying in the Qing Dynasty
Classification · Sub-part> Genealogy Category> Plants, Birds, Beasts, Insects and Fishes
Whereabouts· Summary of the General Catalog of Siku Quanshu
Ruyi Lun Related: Paragraph 73, starting from word 763: The Yu family collects one scroll of Cao Buxing's "Wishful Wheel".