Chapter 1761 A better way
However, complexity has its advantages, because the lines of the wooden mold are carved using the negative line technique, so the stroke lines on the pressed bricks protrude from the brick surface. of.
What the Jinling Museum has passed down now is an ink rubbing with very obvious and clear lines. Unlike the ink rubbings with white text on a black background, this brick painting rubbing is similar to a traditional painting, with black lines on a white background.
Of course, after two moldings, the lines will become rougher, similar to modern printmaking. It is impossible to be as fine as the strokes of a brush, but the large composition and lines are still intact. retained.
The painting uses scatter perspective, inheriting the past painting tradition, with skillful techniques and smooth lines. The eight figures are all sitting on the ground, with well-proportioned proportions, wanton postures and vivid expressions.
The upper part of the masonry picture shows Ji Kang, Ruan Ji, Shan Tao, and Wang Rong, while the lower part shows Xiang Xiu, Liu Ling, Ruan Xian, and Rong Qiqi.
The spaces between each figure are decorated with green pine, broad-leaf bamboo, ginkgo and other plants.
Rong Qiqi is thousands of years apart from the Seven Sages of the Bamboo Forest. Rong Qiqi was active in the Spring and Autumn Period. Legend has it that he had contacts with Confucius. Of course, it is impossible to sit and drink with the Seven Sages. In the same painting, he is regarded as a model, and his main function is to balance the picture.
The style of the portraits can be seen in the character style that was popular in the Southern Dynasties, that is, the image of a romantic celebrity with loose clothes and wide belt, slim figure and pure and exquisite, slim and elegant style characteristics.
Although it is far inferior to painting, the carving lines are strong and elegant, with both spirit and form, which makes up for the loss in many details.
At least in the field of masonry and stone portraits, it is well deserved to be the "sacred product of the Six Dynasties".
Because the portrait was very clear, Zhou Zhi only took a glance and knew that it was the same master as the painting in his hand. All the big lines and visible parts were exactly the same.
For example, the characters are separated by ginkgo, pine locust, and weeping willow. Another example is that eight people are all sitting on the floor, and each presents a posture that best reflects their personality, vividly expressing the free and noble ideal personality of the gentry intellectuals, and the images can completely overlap with the part that can still be discerned on the scroll. .
There is an allusion about the Seven Sages, called "Ji Qin and Ruan Xiao". In this brick painting, Ruan Ji is leaning sideways and roaring with his mouth. It is obvious that he is mumbling and getting carried away. Shan Tao was an alcoholic, with a record of "drinking until he was eight buckets drunk", so he held a wine bowl in the painting, while Wang Rong danced as he pleased, with bare legs, specially equipped with a money box, and a lazy and leisurely posture.
Here is a detail. Wang Rong hates money the most. The general Seven Sages of the Bamboo Forest will never give him a money box. If he is given a money box, it will probably make Wang Rong show disgust. This painting is very special, with movements and expressions like waving flies, as it looks like it doesn't care at all.
In fact, this may be the deeper connotation that the painter wants to express. The Seven Sages of the Bamboo Grove are originally pursuing freedom of the soul. Even the body cannot be a fetter, so how can it be fettered by things outside the body?
And there is another detail here, that is, the Ruyi in Wang Rong's hand is really just a tickle, with a small hand in front and a long straight pole in the back, coupled with Wang Rong's holding posture, At first glance, I thought it was an old man smoking a pipe pot, but when I looked closer, I realized it was an "Old Man Le".
This image is also impossible to appear in the paintings of later generations. The Seven Sages of the Bamboo Grove, deep in mystical philosophy, elegant and pretentious, with a harp beside them, poetry and wine lingering in their hearts, how could they have fun with the old man?
So in later literati paintings, Ruyi turned into something like Ganoderma lucidum, and there was no trace of Old Man Le anymore.
Anyway, apart from the current one, Zhou Zhi has never seen any picture of Gaoshi holding Ruyi, and the Ruyi in his hand is in the shape of an old man.
Also unique is Ruan Xian, who is proficient in music and is good at playing the pipa. Of course, the so-called "pipa" here is also very different from the current pipa. This plucked instrument was directly called "Ruan Qin" in later generations. Ruan Qin has an elegant name called "Pu Ruan".
Because "Ruan" and "Yue" are very close in ancient sounds, some people gradually changed the name of this instrument. This is the "Yueqin" that we are more familiar with now. But this change also happened gradually. It was only after the Song and Ming dynasties that Yueqin became generally recognized. In the Seven Sages of the Tang Dynasty, Ruan Xian was often holding the Western Pipa that everyone recognized in the Tang Dynasty. This is because the painter did not have enough knowledge and was influenced by Because of the influence of secular names.
These details are not only proof that the brick paintings and silk paintings come from the same book, but also that the painting comes from the Southern and Northern Dynasties, which is very close to the Eastern Jin Dynasty. The painter is infinitely familiar with the things of the Jin Dynasty, unlike more recent times. This is clear evidence that later painters used allusions and texts to use their imagination out of thin air, and then were distorted by the world.
Of course the difference is not completely absent.
First of all, although the characters and the trees behind them are the same, the order has been adjusted.
The characters in Zhou Zhi's scroll are Rong Qiqi, Ji Kang, Ruan Ji, Shan Tao, Xiang Xiu, Liu Ling, Wang Rong and Ruan Xian.
On the brick paintings are Ji Kang, Ruan Ji, Shan Tao, Wang Rong, Xiang Xiu, Liu Ling, Ruan Xian and Rong Qiqi.
The brick painting lifted Wang Rong behind Shan Tao and placed Rong Qiqi, who was first, at the end.
And on the scroll, the distance between each character is relatively comfortable. This is also the standard painting method for such character portraits in the Southern and Northern Dynasties. Each character can be painted independently.
In order to arrange eight people in a limited space, the brick painting also had to make the characters large enough, so it did not consider the layout such as blank space at all. The blank space between the characters and tasks was cut out, and one character was next to another. One character makes the picture dense and unusual.
This is interesting. The four great masters of the Six Dynasties originally had two painting styles: sparse and dense. Now, the craftsmen squeezed the "sparse" into the "dense".
However, Zhou Zhi now has a better way to resolve whether brick paintings and silk paintings come from the same parent.
Put the fax from Jinling Museum into the scanner, scan it into a computer picture, then take a photo of the painting silk in your hand with a digital camera, and then transfer the digital files of the two photos to the computer. You can use graphics processing software to make it semi-transparent, and then perform zoom and overlap comparison.
Now Zhou Zhi finally has a digital camera in his hands, and it is a real SLR, which already has the standard shape of later Nikon digital cameras.
However, the strange thing is that this camera was jointly developed by Kodak and the Associated Press for the needs of news photographers. Therefore, on this camera, the top part is the Nikon N90 body, with a very obvious Nikon logo, and the lower part is a storage unit that is about the same size as the upper part, with the Kodak logo.
This storage unit of Kodak is actually just a box, which mainly provides the interface between the internal memory flash drive and the camera. To put it bluntly, it is an OEM product with the Kodak LOGO on it. The real manufacturer is Hong Kong An Digital Group, each of the internal flash disks can be hot-swapped through the TYPEC interface, but there is a deformed four-leaf clover LOGO on it.
This camera has 1.3 million pixels and a high sensitivity of 1600 ISO, which is convenient for reporters to use under limited light sources.
After equipping the Vancouver Sun with this camera, it is now the first newspaper in the world to use all digital cameras.
The price of this camera is very scary, $17,950. Even for AP members, the internal discount price is only $1,000 less.
Fortunately, Zhou Zhi did not spend this wasted money. As a manufacturer of storage units, the machine he got was considered a sample testing machine.