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Li Keyan's "Map of Ten Thousand Waters and a Thousand Mountains"
In 2019, two hundred million-yuan Chinese paintings and calligraphy were among the top 20 most expensive lots in the world, namely Zhao Mengfu's "To Guo Right Second Scroll" hand scroll and Li Keyan's "Ten Thousand Waters and Thousand Mountains", but the value of Chinese painting and calligraphy is underestimated by the world, especially in the West, and it is still a reality that cannot be changed for a long time in the future.
Among them, landscape painting is the thickest precipitation in the Chinese's emotional and philosophical criticism, which carries the philosophy, sustenance, ideals, moral pursuits, life realizations, and home and country feelings of the Chinese people, but it is regarded as a simple landscape painting by the West.
In fact, Chinese landscape painting from the legendary ancient times has undergone three twists and turns in just over a hundred years.
On the occasion of inheriting the past and opening up the future, retiring the old and welcoming the new, Xue Yongnian, honorary director of the Theory Committee of the China Artists Association and distinguished professor of the Shanghai Academy of Fine Arts, made a clear sort out of the ancient and modern changes of Chinese landscape painting, especially the changes in the past hundred years.
He advocated excavating new materials on the basis of appraisal and philology, grasping the vividness and richness of history in a three-dimensional way, accumulating points into lines, reorganizing historical clues, and explaining the ins and outs of the evolution of art from the specific connections between style and connotation, function and creation, art and society; in cross-border research, we do not ignore the ontology of art, emphasizing "based on fine traditions without standing still, conscientiously studying the West without handan toddler", and "making a speech for Chinese art".
Qing Jiang Yun Shanshui 1899
In Xue Yongnian's view, the purpose of studying Chinese landscape painting is to "investigate the changes of ancient and modern times when the heavens and people are investigated."
Chinese landscape painting is different from Western landscape painting, it directly expresses nature, but also indirectly expresses the relationship between man and nature, man and society; Chinese landscape culture has rich meanings, including regime, motherland, homeland, universe, history, personality, etc.; its functions are also diverse, there are urbanization and rural memory, there is a heartfelt reverence for nature, there is also praise for the human merits of turning the sea into a mulberry field, in order to highlight the satisfaction of transforming nature and creating history.
Regarding the composition of Chinese landscape painting, one is the artistic conception, including the blending of scenes, the external meaning of the image and the unexpected magic; the second is the hill and the position, such as the shape of a tree and a stone, the spatial relationship between the three distances, and the spatial relationship of calligraphy; the third is the pen and ink and color, including the bone method, the same method of calligraphy and painting, the exquisite ink of the pen, and the color of the class.
The transformation of ancient landscape painting
Chinese landscape painting originated in the Six Dynasties and matured in the Fifth Tang Dynasty, and has since become a major source of scroll painting.
In the course of more than a thousand years of development, Chinese landscape painting has been changing, there are so-called "landscape painting, began in Wu, into the second Li", "Jingguan Dong Juyi also changed, Li Liu Maxia changed also, the big idiot Huang He also changed" and so on.
Qing Wang Yi Xishan Mangrove Tree Map
Because ancient China has always been in the midst of agricultural civilization, less stimulated by foreign cultures, the many new changes in landscape painting are only changes in the style of the times in the same culture, and its cultural concept is consistent.
Until the 20th century, under the joint action of internal and external forces, ancient China moved towards an industrial society and an information society. The aspirations of the times to enrich the country and strengthen the people, and the resulting introduction of Western learning, not only enriched the subject matter of landscape painting, changed the function, method and appearance of landscape painting, but also changed the relationship between man and nature in landscape painting.
The first change in landscape in a hundred years - the late Qing Dynasty to the middle of the 1930s
At the end of the Qing Dynasty, the Western concept of visual illusion was further accepted by court and folk painting because of its emphasis on focal perspective and the light and shade of objects, which increased the sense of immersive reality. The Impressionists enriched the color perception with the help of optical achievements, and also had a small influence on Chinese landscape painting, including Wu Shixian, the representative of the late Qing Dynasty landscape painting, and Jin Cheng, Gao Jianfu, the representative of the visual concept of the study painter.
Xu Beihong Guangxi Hejiang Scenery 1938
In the period of the "May Fourth" new cultural movement, the mainstream academic circles violently criticized the literati painting tradition and proposed the task of improving or reforming Chinese painting, and the realism in Western painting that emphasized scientific laws and understood and understood became the mainstream of introduction.
While introducing Western realism and criticizing the tendency of imitation of the past, it also vigorously advocated sketching, promoted the Introduction of Western-style Sketching into the Middle School, and also promoted the return of the tradition of "ancient method sketching" and "teacher creation" of the ancient kaijin school.
Zhang Daqian Wuxia Qingqiu 1940s
This trend of thought of reforming Chinese painting also promoted the formation of the Xirun Zhongpai school, which was mainly based on the realistic style, which referred to the visual concept of Western landscape painting and promoted the evolution of the non-visual illusion of landscape painting towards the visual illusion.
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The second change in the landscape in a hundred years - from the War of Resistance Against Japanese Aggression to the end of the Cultural Revolution
After the Chinese landscape painting "changing the teacher and the ancients into the teacher", it then ushered in the changes of "changing the heart of the forest spring for the use of the world", "changing the traditional theme into the theme of the present world", and "changing the concept of the unity of heaven and man to determine the concept of victory over heaven".
In the past hundred years, the criticism of the ancient in the field of painting, the introduction of realism, the emphasis on the basic skills of sketching, and the return to the tradition of teacher creation have not only led the painter to the real source of creation, but also under the mission of the times to save the nation from peril and revitalize China, take art as the purpose of life, take the spirit of the times as the requirement, focus on public life, break through the original theme of landscape painting, and give landscape painting a new function.
Zhang Ping reported that the human world had fuhu in 1964
Gao Jianfu and other Lingnan factions who participated in the Xinhai Revolution devoted themselves to themes related to the fortunes of the country and the people's livelihood, and Zhao Wangyun cared about the themes of rural suffering and became a pioneer in the application of the world.
However, the fundamental change in the cultural concept of traditional landscape painting was realized in the 1950s and 1960s after the founding of New China. During this period, the paintings strengthened man's dominant position over nature, highlighted the imprint of human history and reality in the natural environment, and no longer expressed the individual spirit's leisure in nature with the concept of "the unity of nature and man", but also showed that human beings changed their destiny in the natural environment and changed the face of nature at the same time.
Painters began to pursue new artistic conceptions and brushstrokes, including the new appearance of mountains and rivers, the artistic conception of revolutionary holy land, the artistic conception of leaders' poetry, and the artistic conception of the motherland's mountains and rivers.
The third change in the landscape in a hundred years - from the new period to the present
Since the reform and opening up, with the change of painting function and audience, it has broken through the subject matter of Chinese landscape painting for an unprecedented time, and also provided the possibility for Chinese landscape painting to play a more comprehensive function and express a richer spiritual world.
People are beginning to realize that man's victory over heaven is not fully realized. Painters can paint the pride of transforming nature, or they can paint the mysterious and unembodied natural landscapes felt by unrecognized nature; they can depict "struggling with the heavens, and the joy is endless", or they can paint the awesome nature of "the mountains and rivers make the mountains and rivers of the remaining generations", and by creating the lofty conditions of nature, they can express the national soul of the heavens and the earth, and sing the praises of the great motherland.
Lee Ke Dye Jiang Shan Endless 1982
In the 1970s and 1980s, some painters began to distance themselves from the consciousness characterized by the transformation of mountains and rivers, and instead devoted themselves to infusing the mountains and rivers with the spirit of sinking the majestic national culture, depicting landscapes that had not been dabbled by previous generations, and expressing the creation of heaven and earth in the wider non-real and sometimes air.
At the same time, the impact of Western art and the rise of new wave art, and the increasingly effective modernization construction have changed the natural ecology, resulting in another change in the concept of landscape painting and the appearance of landscape painting, further expanding the theme of landscape painting, enriching the spiritual content of landscape painting, and more broadly realizing the function of landscape painting.
Wang Guyu Wang Yi Ingenuity Builds Dreams -- Sky Eye under Construction 2018
For example, the mountains and rivers that have been passed down for the motherland, the regional landscapes that open up the aesthetic field, the allegorical landscapes that express the pulse of the times, the ancient trees of the landscapes that praise the national spirit, the breakthrough of Western-style visual illusion space and the vast universe of time and space, the excavation of personal inner space, the breakthrough and realistic pen and ink texture of urban landscapes and gardens and the pattern of absorbing planes, etc., reflect the current theme and aesthetic taste of the times, and express the historical connotation of cultural self-confidence and the appearance of the times.
At present, landscape painters pay more and more attention to the inheritance of China's excellent traditional culture, carry forward the revolutionary culture and advanced cultural traditions, guard against the negative effects of the tide of the market economy, integrate the small self into the big self, closely link the personal mental image with the weather of the motherland's river and mountain era, adhere to the historical experience of combining sketching and creation, and undertake the mission of recording the new era, writing the new era, and praising the new era.
brief summary:
Looking at the changes in Chinese landscape painting, landscape painting, which both sees and thinks, is a unique creation of China.
For more than a hundred years, drastic social and cultural transformations have influenced the development of Chinese landscape painting. Looking back at the changes in Chinese landscape painting since the 20th century, we can see the in-depth expansion of the aesthetic field and the rich perfection of artistic means. However, the historical situation of the change of landscape painting is not to move from agricultural civilization to industrial civilization and then to information civilization in isolation from the world environment, but also in the process of changing the social system that saves the danger and revitalizes China, and is generally under the expansion of the strong cultural values of the West.
Therefore, issues such as the "birth" and "entry into the world" of artistic themes, the "copying" and "sketching" of the basic skills of art, the "teachers and ancients" and "the creation of teachers" in the source of art, the "creation" and "heart source" in the artistic situation, the "picture truth" and "creation of intentions", and the "group consciousness" or "self-expression" of the artistic spirit have become the questions that have been repeatedly considered and practiced by painters and scholars.
Chinese landscape painting has gone through the breakthrough of ancient traditions in the 1930s and 1940s, and after the reflection on the 1950s and 1960s in the new period, the diversified creative pattern formed in the new period, and the new atmosphere of these new eras are the inevitable results of repeatedly summarizing historical experience.
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