«——【Preamble】】 ——»
In addition to the Li Guo School's own academic literacy and painting study, the changes in the objective environment implicated the changes in the artistic environment. What impact did the changes in the artistic environment have on the development direction of the painters of the Li Guo School?
«——【The impact of the change of dynasties·】——»
The change of dynasties is not only a change of political power, but also a change of social culture and ideology. After the Mongols destroyed the Jin Dynasty, the rulers of the Yuan Dynasty did not implement a policy of cultural repression in the early days of the Yuan Dynasty.
This gave a diversified environment for cultural development at that time, and most of the capital of the Yuan Dynasty became a center of cultural exchange and developed into an important cultural center of the country. Although the regime has been re-elected, at such a historical intersection, "Li Guo's painting style has more possibilities for survival."
Li Guo Chuan retains the consciousness expression techniques of Li Cheng and Guo Xi in the picture. Guo Xi talked about the location of the tree in "Linquan Gaozhi" about the arrangement of the tree: "The big mountain is the lord of the mountains, so it is distributed in the forest gully of the second Gangbu, and it is the suzerain of the size of the far and near.
Baibi ran to the court, and there was no momentum of congestion. The long pine pavilion is the surface of all the trees, so the distribution of the second vine Luo grass and trees is the division of Zhenluo attached to the marshal, its momentum is like a gentleman's uproar, and the villains are the beginning of the battle, and there is no basis for the state of frustration. ”
Guo Xi has clearly incorporated the allegorical image of dynastic society into the picture. Guo Xi's murals often appear in the palace and the government, Ye Mengde mentioned in "Stone Forest Yan Yu" that the halls of the two provinces shine on the walls, and Guo Xi paints trees and stones.
The departments of the province of Shangshu are on the wall, and they are all serving the edict and Zhou officials. "Through the study of Li Cheng and Guo Xi's paintings, the painters of the Li Guo school inherited this kind of painting expression that implies consciousness.
In the landscape paintings of the Li Guo school in the Yuan Dynasty, there are many paintings that express social stability and the peaceful life of the people, and Tang Di has arranged these images in the paintings of "Returning to Fishing in Frost Pu", "Fishing in Snow Harbor" and "Gathering and Drinking in the Shade".
In "Picture of Returning to Fishing in Shuangpu", under the reflection of towering ancient trees, three fishermen who returned from fishing are talking and laughing, which is an expression of harmonious life. In the "Picture of Gathering and Drinking in the Shade of the Trees", everyone gathers under the tree to talk, laugh and drink because of the joy of the harvest.
Against the backdrop of the vigorous ancient trees, it is like a scene of national peace and security. The influence of stable paintings and the peaceful living of the common people on their path to power was positive, and the political imagery reflected in the works of Li Guo was able to meet the aesthetic needs of the Mongol rulers.
«——【The Way Out of the Literati·】——»
After the establishment of the Yuan Dynasty, the Mongol minority as rulers was relatively unfamiliar with Han culture, and after becoming the new leader of the Central Plains civilization, an effective strategy to consolidate their rule over the Central Plains was to recruit Han literati to participate in the system.
In the new environment, Han people show two coping attitudes, one is the attitude of refusing to cooperate and detaching from the system: the other is the attitude of cooperation, such as Zhao Mengfu, Zhu Derun, Tang Di and other opt-in systems.
The Mongol rulers, although active in implementing this policy, were skeptical of the loyalty of Han Chinese clan officials.
In the face of unstable factors, the Mongol rulers chose more intuitive and stable factors for their own use, and the art of painting was one of them. During the Yanyou period of the Yuan Dynasty, the imperial examination selection was reactivated, and the reactivation of the imperial examination selection was an opportunity for those who had a positive attitude towards official careers.
At the same time, under the guidance of official aesthetic standards, the art of painting presented a modest and elegant style of painting, which conformed to the dignified and delicate aesthetic style of the rulers. Fan Chu of the Yuan Dynasty recorded in the "Song of the Mountains and Rivers of the Mansion of the Zhang Officials".
Zhao Mengzhi mentioned in "Wish to Tiemur Kaifeng Mansion Mural Landscape Song" that "the big mountain is blue sky, and the small mountain is flat and far away...... The fishing song Qiao sings nothing, and the lupine fan is clear by the stream. "The murals of the Yuan Dynasty had a large demand for landscape paintings.
The landscape paintings of the Li Guo school are generally created with vertical scrolls because of the choice of picture themes, and the vertical axis landscapes are more suitable for screen walls, and the ruling class and aristocratic groups have formed a kind of supply and demand relationship with the landscape paintings of the Li Guo school, which has become a feasible way for Li Guo to become a painter of the Li Guo school.
Painting murals in the Jiaxi Hall was appreciated by Emperor Yuan Shun. There is also Wang Feng's "Wuxi Collection, Volume 5" Tang Zihua Zhizhou Landscape for Wang Jun Zhiyuan Title" recorded that "Longxiang painted the wall and listened to the return, the official house was clear, and the snow stream and mountains were good, and the stream did not flow." ”
Tang Di's painting murals in Longxiang Temple was appreciated by Yuan Wenzong, which shows that the Yuan Dynasty rulers' favor for Li Guo's landscape brought them more possibilities for enterprising.
«——【Zhao Meng's support·】——»
Zhao Mengfu played an important role in the development of the "Li Guo School" in the Yuan Dynasty, and with the help of Zhao Mengfu, the "Li Guo School" showed stronger development vitality on the basis of the natural continuation from the Song Dynasty to the Yuan Dynasty.
In the Yuan Dynasty, Zhao Mengfu put forward the "Ancient Meaning Theory" to support his retro proposition, which emphasized the pursuit of the painting method of the predecessors and the painting tradition of the previous dynasty as the foundation of the current painting creation.
Only in this way can true painting be achieved, and Zhao Mengfu put forward this point of view mainly to remind literati painters to pay attention to the mastery of painting techniques in the process of painting creation, and not to be too impetuous and ignore the law of painting in creation.
Through the deepening of the influence of the "ancient meaning theory" proposed by Zhao Mengfu, the field of painting art formed a pattern of relative unity and stability in the north and south with the Yuan capital as the center in the early Yuan Dynasty, and the whole field of painting showed a trend of returning to the Tang and Song traditions.
Under the influence of this artistic proposition, the painters of the Yuan Dynasty were given the opportunity to "make up for the lessons" in their painting ability, and the rigorous and solid foundation of painting in the Tang and Song dynasties brought the possibility for the prosperity of the painting field in the middle and late Yuan Dynasty.
In terms of landscape painting, Zhao Mengfu supported and admired Dong Yuan and Ju Ran during the Five Dynasties and Li Cheng and Guo Xi in the Northern Song Dynasty. Ming Zhao Mengfu's comprehension and study of the "Li Guo" tradition is also reflected in his works.
"Jiangcun Fishing Music", "Shuangsong Pingyuan" and "Chongjiang Stacked Peaks" all show the characteristics of Li Guo's painting style. In the picture of "Stacked Peaks of the Yanjiang River", the mountains overlap, the rivers are connected, and boats sail in the river.
The outlining and shaping of the mountain stones in the painting, as well as the depiction of the torsos of the trees, all reveal a style of Li Guo. The slope stone is outlined with a canopy and then dyed, and the branches of the tree are depicted with crab claw-like dead branches.
In "Shuangsong Ping Yuantu", the shape is raised upward, the brush and ink depict thin and picky, and the crab claw-like branches are depicted with miscellaneous branches, which is also the expression of Li Guo's style. In "Jiangcun Fishing Pleasure", the pine trees in the close-up of the picture can be described as beautiful.
Zhao Mengzhi also chose crab claw branches to portray the image of Qiao Song. Zhao Mengfu's support for the Li Guo School is not only reflected in his support for the Li Guo tradition, but also in the guidance and support of the Li Guo School painters.
On the one hand, Zhao Mengzhi was an official of the Yuan Dynasty, and on the other hand, he was a giant in the Yuan Dynasty painting circle, and his interpersonal relationships included many painters such as Gao Kegong and many painters, including Li Guo's school.
Some of the painters in the Li Guo school were not only taught by Zhao Mengfu's painting skills, but also recommended by him. Zhang Yu recorded in "Fengxun Doctor Pingjiang Road to Shizihua Zhang Jun Caijie" that Tang Di "is a little longer from the name, good at understanding and understanding chapters and sentences, and can be recited."
The rest of the mouth is practiced painting, and there is a teacher method for raising the pen, when Zhao Wenmin Gong saw Jun, he was strange, and went out of the door. and Shen Menglin mentioned in "Tang Zhizhou<双松图>": "Tang Hou is called a strange boy at the age of a year, and he is a beginner in painting mountains, and Zhao Weigong is a beginner." ”
«——【·Conclusion·】——»
The painters of the Li Guo School of painting were in line with the aesthetic tastes of the northern rulers, and under the relationship of Zhao Mengxi, they had more opportunities to get close to the northern powers. In addition to Tang Di's recommendation from Zhao Meng's friend Ma Xi to "start with Mao talents".
Zhu Derun also entered the official career by Zhao Mengfu's recommendation, and it was recorded in the "Cunfu Zhai Anthology": "The recommended concubine Taiwei Pan Wang heard that Emperor Renzong summoned the Yude Palace." "Li Guo sent painters to enter the official career through the relationship between Zhao Mengfu and his family by virtue of his own painting style and the aesthetic taste of the ruler.
Information sources:
"Zhao Mengfu Songxuezhai Inscription"