Chapter 1777 The Era of Leap to Great Success
Of course these are digressions. Since they are all famous artists, Zhou Ji would not just chat about gossip at this opportunity, and quickly turned the topic back to the works of the Six Dynasties painters. .
When talking about the painters of the Six Dynasties, the first thing that everyone usually thinks of is the Three Masters of the Six Dynasties and the Four Masters of the Six Dynasties.
The three heroes are Gu Kaizhi of the Eastern Jin Dynasty, Lu Tanwei of the Southern Song Dynasty, and Zhang Sengyao of the Southern Dynasty Liang. Later, with the addition of Cao Buxing of the Eastern Wu Dynasty in the Three Kingdoms, the three heroes became four families.
More than that, according to the records of "Famous Paintings of the Past Dynasties", among the painters, emperors such as the young emperors Cao Mao and Sima Shao, ministers such as Zhuge Liang and Yang Xiu, painters such as Cao Buxing and Lu Tanwei, and aristocratic families such as Xun Xu, Wei Xie, Wang Xie, Wang Xizhi, etc., there are 23 people in the Three Kingdoms alone who can be called "family", and there are 27 people in the Southern and Northern Dynasties and Song Dynasty. There were twenty-eight people in the Southern Qi Dynasty, four people in the Liang Dynasty, one person in the Chen Dynasty, nine people in the Later Wei Dynasty, ten people in the Northern Qi Dynasty, one person in the Later Zhou Dynasty, and 21 people in the Sui Dynasty.
Among these painters, except for those whose identities are unknown due to lack of historical data, they can be roughly divided into several types: one is painters, such as Cao Buxing of Wu, Gu Jingxiu and Lu Tanwei of Song Dynasty.
The second is a hermit, with several figures, such as Xie Yan, Cao Long, Ding Yuan, and Yang Hui. The door retreated, and the high winds shook the Jin and Song Dynasties." Zong Bing, his grandson Zongchai, Tao Hongjing and others.
The third are monks, such as Yao Tandu of the Southern Qi Dynasty, Tandu's son Huijue, and Seng Zhen; monk Wei Gong of Shiguangzhai Temple in Liang Dynasty, Seng Ji Diju, Mara Bodhi, and Jia Buddha. These three monks are all foreigners. , the paintings are mostly of foreign characters and animals.
The fourth category is the most critical, that is, big shots. Among them, they can be divided into two sub-categories. One is the emperors, such as Cao Mao, the Young Emperor of Cao Wei, Sima Shao, Emperor Ming Dynasty of Jin Dynasty, Xiao Yi, Emperor Yuan of Liang Dynasty, etc. Although such figures hold the status of emperors, they like to paint things. In terms of their cultural quality, they are also Among the scholars. The second is the scholars who became officials. They usually occupy other official positions and perform various arts, with painting as one of their interests.
The logic comes out here. Before the pre-Qin Dynasty, painters were mostly called "Shi", "Gong", and "Ke". There was no special title, their status was not high, and no names were left in history. , their work is more like decorating palaces and tombs, more like decoration workers, and their works are treated more as accessories to these buildings.
It was not until the reign of Emperor Ming of the Han Dynasty that there began to be a dedicated painting academy, under the jurisdiction of the Shaofu, with a director of the studio, who was served by a eunuch with a rank of four hundred stones and a yellow ribbon. The painters managed by the director of the studio are called "Huangmen painters" or "Shangfang painters". They still belong to the category of decoration workers, but they only work full-time for the royal family.
Afterwards, a group of talents who specialized in painting began to appear. Although they were still called "painters", their artistic attainments and name records were left behind. The most famous one was Wang Zhaojun's deliberately ugly painting of Mao Zedong. Extend life.
In the Later Han Dynasty, scholar painters finally began to appear. From then on, scholars became the main body of the history of painting. However, later Han painters such as Zhao Qi, Liu Bao, Cai Yong, and Zhang Heng all had other official positions and did not work in palace studios. They also performed various arts and were not only famous for their good paintings. For example, from Zhao Qiguan to Taichang Qing, he has many talents. Liu Baoguan went to Shu County as the prefect. Cai Yong was a doctor in Jianningzhong. He was good at calligraphy and painting, good at drums and harp, and was also a writer. Zhang Heng was even more admired by his attendants. He was "extraordinarily talented, clever in nature, good at understanding images, and good at painting." Everyone is familiar with his achievements in astronomy and geography.
It was the emergence of paintings by scholars with relatively high social status and cultural literacy that improved the quality of painting.
In the Wei, Jin and Six Dynasties, scholar painters finally became the mainstream of painting. Correspondingly, painting has officially become an outstanding artistic achievement of mankind. Like music, calligraphy, and literature, it has officially entered the halls of elegance. Professional painting theories and painting histories have appeared, and various masters have There are many.
The function of painting also underwent a major change at this time. The previous paintings were more about knowledge content, such as "strange objects, mountain gods and sea spirits. Write down their shapes and provide pictures."
< br>Or historical records, "Huang Emperor and Tang Yu. The crown of the crown is mediocre, but the clothes are special." Or the warning function, "Viewers of paintings, when they see the three emperors and five emperors, they all admire them; when they see the violent masters of the three seasons, they all admire them. When you see usurping ministers and traitorous heirs, everyone gnashes your teeth; when you see a noble and wise man, you don't forget to eat; when you see a loyal and honest person die, you don't resist; when you see a minister who has betrayed you and scolded your son, you sigh; when you see a prostitute and a jealous wife, you all look sideways; After the imperial concubine obeys, everyone will be honored. This is the painting of Zhi Cunhu. "
At this time, landscape painting gradually emerged, and the aesthetic value of painting began to attract attention. Zong Bing of the Southern Dynasty put forward the theory of "freeing the spirit" in his "Preface to Painting Landscapes": "The peaks are high, the clouds are dense, the sages are reflected in the peerless world, and all kinds of interesting things are integrated into their spiritual thoughts. What else can I do? It's just freeing the spirit, the spirit of the spirit. Whoever has the best experience first!"
This is the beginning of a separate emphasis on the spiritual enjoyment that painting brings to people.
Wang Wei also has a famous expression in "Xu Hua": "Looking at the autumn clouds, the gods are flying, the spring breeze is coming, and the thoughts are vast. Although there is the joy of gold and stone, how can the Chen of Guizhang be like it? How can I move the fingers alone? The palm is also sent down by the gods, which is the emotion of this painting. "
This is the beginning of painting being elevated to the same status as calligraphy and ritual vessels, and it is believed that it has the function of spiritual transmission.
So Chen Hengke said: "Paintings before the Six Dynasties were mostly subsidized by human relations, convenient for politics and religion, or for decoration of buildings. Art has not yet been freed from its constraints. By the Six Dynasties, art had an independent spirit and an aesthetic trend. Due to this rise, the sprouts of free art gradually appeared. Skills suddenly improved.”
In this era of great changes, several outstanding figures also put forward their own creative spirits. These spirits have also become the lowest logic and basic principles followed by Chinese paintings in later generations. , constitutes the unique aesthetic and artistic philosophical system of the East.
Gu Kaizhi put forward the theory of expressiveness, which requires "keeping the spirit with form and conveying wonderful ideas". He advocated that painting should express the mental state and personality characteristics of the characters. The painter's imaginative activities in the artistic conception process should "transfer subjective emotions". "Enter" objective objects and obtain artistic feelings. "Wonderful" is the result, that is, through the artist's emotional activities and aesthetic observation, the objective spirit is integrated into a "expressive" and perfect artistic image.
Lu Tanwei is the founder of the formal use of calligraphy in painting. His paintings have two main characteristics. One is the pursuit of using a pen as strong and powerful as a knife, and a keen grasp of the coherent strokes of cursive script. and ingenuity to make it Introducing the field of painting to create an unprecedented "one-stroke" method; secondly, it transcends the focus on external forms and reaches directly to the spiritual level of the ideal personality. Therefore, when people face the picture, they will have a feeling that "makes people feel as if they are facing gods" Feel.
Zhang Sengyao has a unique creation in painting. He paints landscapes without using pen and ink to outline. He created the famous "boneless painting method" in Chinese painting, breaking through the constraints of lines and introducing the "dots, points" in calligraphy. "Drag, chop, whisk" and other methods into the painting, This greatly enriched the techniques of Chinese painting, and also absorbed the Indian "concave-convex flower" technique, which is now known as the light and shade method and perspective method. It is of great help in shaping the space of the body and can make the picture have a three-dimensional sense. Realistic effects.
Different from Gu and Lu's dense and dense one-stroke paintings, Zhang Sengyao's painting method is called "sparse style". At this point, a new two-way norm has been established, which is an enrichment and expansion of the previous painting principles: "Only when you know that a painting has two bodies, density and density, can you discuss the painting."
Later, in his painting theory monograph "Paintings", Xie He proposed the social function of painting and six criteria for evaluating paintings, namely the "Six Methods": vivid charm; brushwork based on bones; pictograms according to objects; and following categories. To give color; to operate a position; to transfer and imitate.
In addition to talking about theory, Xie He also used this standard to evaluate the works of Cao Buxing and twenty-seven painters of his generation. Divide painters into six levels. Take spirit, temperament and demeanor as the standard. Among them, concepts such as "vivid charm", like calligraphy and music, have been upgraded to the level of spiritual feedback.
After a meal of mutton, Zhou Zhi finally understood why the four families of the Six Dynasties were called the "Four Ancestors".
What the Six Dynasties were to painting, the Tang Dynasty was to poetry, and the Song Dynasty was to lyrics and music. They all experienced a leap to greatness, reaching a height that no matter how much later generations changed, it would be difficult for them to break through.