"It seems that the old man came" "Chinese Painting Chapter" Look at China in ink

As a country whose history has never been interrupted, Chinese civilization is attached to the long river of Chinese history. Five thousand years ago, the Majiayao culture, as the dawn of Chinese art, has used the brush as a painting tool. The lines outlined by the ink color on the faience pottery laid the historical foundation for the development of Chinese painting and became the root of its artistic expression.

The ancient Chinese fixed the soft hairs of different animals to the end of the pen shaft and made them into brushes, which became a tool for writing and painting. Compared with the hard pen, the brush is particularly sensitive to the power of the wrist, light and heavy, the kolan leaf fine drawing, can also be landscape thick ink, which makes Chinese painting different from Western painting in terms of expression, and has its own aesthetic value. The Southern Dynasty Sheikh put forward the "Six Laws Theory" and formulated aesthetic standards for Chinese painting with a new theoretical height. Among them, the first method, "Vivid Rhyme", transcends the skillfulness of the painter's brushwork, the meticulousness of copying and the delicacy of the brushwork, and takes the momentum and artistic conception of painting as the most important aesthetic principle, which is unswerving throughout the ages.

With the hollowing out of the Silk Road in the Han Dynasty, China and the Western Regions had a formal connection. During the Northern and Southern Dynasties, the Northern Qi painter Cao Zhongda had the blood and background of the Sogdians in Central Asia, he used fine lines to express the body, this painting style influenced by Gandhara art and Gupta art was presented with the brush and ink of Chinese painting, colliding with brilliant sparks, and posterity described the characters in his works as "Cao Yi out of the water" as having a sense of agility, as if they had just stepped out of the water. The unification of the Tang Dynasty brought the exchange of the Silk Road to a new peak, Buddhism from the Western Regions with the re-intervention of monks, mural art flourished, more styles were added to Chinese painting, and figure painting was in the ascendant. Wu Daozi became the creator of the temple mural painting at that time, and the character lines of his works were melodious and free, with the reputation of "Wu Belt Dangfeng". This form of expression, which originated from the Buddhist sutras, has also gradually integrated into the local Chinese culture and has become the cultural foundation of later generations.

Since the Northern Song Dynasty, the theme of landscape painting has matured day by day, and its prestige has surpassed that of figure painting. With the rise of the Chinese scholar-doctor class, a kind of literati painting that sends affection in the landscape to show personal moral sentiments and cultivation came into being. This kind of painting that is different from the courtyard painting school is characterized by freedom and no restraint, does not seek similarity, only emphasizes the artistic conception, and presents an eclectic style outside the mind. With the southern political center of gravity shifting southward, different from the lofty mountains and mountains in the north, the southern landscape is presented in the literati paintings in a new style of smoke and rain. It was not until the Yuan Dynasty that literati painting gained real admiration and prestige. Of course, this is related to the nomadic background of the Yuan Dynasty court, and the differences and opposites between the hierarchical cultures of the imperial court and the scholars and doctors also made the painters abandon the exquisite and exquisite style of courtyard painting and shift the painting goal from "realism" to "freehand". Landscapes have only become the carrier of ink opera, with poetry books in painting, alluding to the broader hills in the heart. From Zhao Mengfu to Huang Gongwang, Wu Zhen, Ni Zhan and Wang Meng of the "Four Greats of the Yuan Dynasty", this kind of literati painting that makes pen and ink fun independent of the image of painting and integrates poetic conception and philosophy has pushed Chinese painting to a new peak.

In the late Ming Dynasty, Dong Qichang pointed out the "sectarian theory", divided the landscape painting school into the north and south sects, and established the Nanzong of the literati painting school as an ideal model from the aesthetic tendency, and honored Wang Wei of the Tang Dynasty as his ancestor. Soon after, under the turning point of history, Zhu Yun and Shi Tao expressed their inner world in a tortuous way with obscure paintings and poems, highly combining emotion and skill, and becoming epoch-making figures in ink freehand.

In fact, today's Chinese painting has long since broken away from the tradition of brushes and is known to the world with more forms of expression, but it is undeniable that literati paintings represented by ink painting are still the most recognizable Chinese symbols in the field of world art. When Chinese painting enthusiastically embraces new forms and new methods, people in the new era should relive the skills and feelings in ancient paintings. Through the rhythm of pen and ink, you can understand the ups and downs in the spiritual world of the painter; through the Zhuyin inscription, you can feel the sympathy between the iterative inheritance of the literati. These are enough to cross the distance of time and space, so that Chinese culture can be passed on and lived endlessly in the ink opera.

At 21:00 on the evening of January 4, the seventh issue of the second season of "It Seems to Be the Past", together with Mr. Fan Zeng, a giant in contemporary art, "return to classics and return to nature" and feel the bones of Chinese literati in poetry and paintings.