«——【Preamble】】 ——»
The background of the Northern Song Dynasty and the context of artistic ecology present a new atmosphere, and Li Gong is one of the representative figures in the Song Dynasty painting circle. So, what is the historical record of Li Gonglin?
«——【The record of "Xuanhe Painting"·)——»
In terms of famous paintings in calligraphy, Li Gongxian has a rich family collection, since he was a child, he got the meaning of the ancients when he was young, and the regular script has the style of the Jin and Song dynasties. He can gather the strengths of all families for his own use, but whenever he obtains ancient and modern famous paintings, he must copy them and keep copies.
His figure paintings can distinguish the appearance, and the identity and mood of the characters can be expressed with a few brushstrokes, which is comparable to non-secular face work. Li Gonglin's face is based on his intentions first, and his exquisite and vulgar work may be learnable, and his simple and absurd rate is very within the reach of people.
This state of affairs is indescribable, and it is often a matter of nature. Li Gonglin said in the "Preface to the Orchid Pavilion": "Sui Liang copy, the trace of Yi Shao's divine residence, is that those who know the wonder of the eternal do not ask in the dot painting, and the charm of the romance is not within the reach of mechanics."
When later generations copy and interpret, they often fall into the whiteness of "dot painting theory". The painting book said thoroughly: "Today's people look at paintings to take more resemblance, but I don't know that the ancients took the resemblance as the end." Such as Li Bo's face character...... It is still not free from the loss of form, and the beauty of the cover lies in the brushwork, charm, and brilliance, and the shape is similar to the end. ”
Li Gonglin has the ability to shape business, and his proud works often forget the form, that is, Gu Kaizhi's so-called "writing God in form, and moving imagination is wonderful". The objective form is not the goal, and the various techniques are only means, and the spirit is full of energy, and "moving imagination" is another subtlety.
Su Shi has a sentence that "the face is similar to the form, and the neighbor is with the child" is widely circulated, and it has almost become the golden rule for freehand painting to reject the likeness, in fact, people sometimes misunderstand it. The author believes that Su Shi's original intention was not to reject the similarity, but to speak of a sense of proportion, that is, if the painting is only based on the similarity.
«——【The shape of the painter's heart·】——»
There are also many factors involved in the performance of the picture, and the Sheikh's "Six Laws" point out several important aspects that the picture should pay attention to. If it is understood that painting cannot pursue resemblance and blindly exaggerate, it is inevitably biased. There are many levels of likeness.
The noodle artist's feelings about the objective object are different at different times and in different moods, and the objective object is just a carrier, which will generate countless possibilities, which is also the charm of art.
In order to highlight the charm, you can add or subtract the likeness, which shows the close relationship between the form and the god, that is, the so-called "writing God in form" wants to accurately perceive a person's temperament and brilliance, and needs to observe it secretly.
In this way, we can perceive the personality of their subconscious, rather than allowing them to sit upright and observe it. Everyone's demeanor is different, sometimes between the eyebrows, sometimes at the nose, sometimes even where the demeanor stands, sometimes just depends on the few hairs.
Gu Kaizhi once said that adding three hairs to the cheeks makes you feel brilliant, that is, when the meaning is reached, you will be full of radiance, that is, the so-called "get carried away". Another example is the monk Weizhen's painting of Zeng Lugong, with three lines behind the eyebrows, so it is very similar".
Form and God are in a mutually coexisting relationship. "Careful hair loss of appearance" is too dependent on the objective form, which is also the "shortage" of "painting to resemble the form". You can't help but take the form, you can't rely on the form, "like" is the form, and "the great like" is God.
The purpose of taking the form should be like God, and it can be increased or subtracted, and even something out of nothing, which has a true meaning.
In addition to the form and spirit, the face is also like the form. Su Shi also said: "Everyone knows the loss of the normal form; Common sense is inappropriate, although those who know the painting do not know. ”
Conveying God through form is because there is a rational existence between form and God. The shape at this time is not an objective shape.
The reason is not an all-encompassing principle, and there is a trade-off between form and reason, which also involves the author's inner cultivation and sense of proportion. Han Zhuo said in the preface to "The Complete Works of Shan Shui": "The old man can make the best of things in his paintings, and if he ignores reason, he will lose the truth."
«——【The Debate of the Form and God】——»
Li Gonglin's meticulous observation of the details of life, and the intention outside the painting is born, which is also one of the important characteristics of Li Gonglin's artistic creation. At the same time, it also reveals the subtlety of painting theory that no one can understand.
Li Gonglin's "mind" is the fashion of the times, and it is also the commonality of classic works, so form, reason, and spirit constitute the three most important factors in his works. "Xuanhe Mask" once stated Li Gonglin's creative intention.
Some people once said that Du Fu's poems are dancing with "flail mirrors", and Li Gonglin's rework also has a similar appearance. Similar to the cases cited in the Xuanhe Painting Spectrum, the ingenuity of the idea also exists in the examination of the Song Dynasty Painting Academy.
"No one crosses the wild water, the lonely boat is all day long" seems to be not difficult to express, the average person will draw a lonely boat across a bubble pond, which is a literal expression: go one layer further, maybe meet a waterfowl parked on the boat, in order to express the meaning of no one crossing the boat, a piece of peace.
And so on, often in its own right. And there is a winning candidate in the stern of the boat to draw a boat man who sleeps in a suit, next to which a horizontal flute is placed, some people wait and no one crosses the water, the lonely boat and the lonely person depend on each other as a companion, the desolate realm is suddenly born, and the true meaning of life is more revealed, and the poetry is born from this.
"Stepping on the flowers to return to the horseshoe incense" horseshoe stepping on the flower and leaving the remaining fragrance, on how to express the word "incense", some candidates draw a group of butterflies chasing the horseshoe, which can be seen its wonderful meaning. "Troubled Mountains and Ancient Temples", the general works will expose a corner of the ancient temple in the deep mountains to highlight the word "Tibet".
If the idea is wonderful, the composition is arranged, and the brush and ink are wonderful out of nothing, often getting twice the result with half the effort, and can turn the tide at every bit of the picture. Such poems and paintings prove each other, and the imagination is wonderful, which is the fashion of the Song Dynasty, and Li Gongxian is undoubtedly one of the best.
Su Shi has a discussion about Li Gonglin's "Mountain Villa". He pointed out that "Villa Wai" can make people walk in the mountains and get the road themselves, as if they have already seen it in their dreams, and the plants and trees in the mountains know their names, and the people who encounter fishing woods and hidden trees can be identified.
This is only because Li Gonglin is too familiar with this villa, and he knows everything by heart, and he doesn't need to deliberately memorize it, just like drinking alcohol and still using his mouth, and catching things in a dream must be with his hands, this is a subconscious instinctive reaction.
In the calm tone, the common elements are weakened, suggesting the expression of individuality, and the completion of this process is not visible. The author believes that the quantification of so-called techniques is mostly designed for some kind of introduction or inheritance, and great works are often not found.
In the author's experience, there is no specific preset starting point for copying or creating, that is, any part of the picture can be painted, and the so-called self-construction is all constructed.
Regardless of these, the similarity or harmony of the atmosphere of the picture is a good copy. This is another in Li Gonglin's
A true "Linwei Yan Grazing Map" can also be reflected. The author has a faint sentimentality when observing "Five Horses".
This work is short and long, which seems to show the troubled national fortunes of the Song Dynasty, which is the charm of the work. The ineffable appeal of the work may come from what it refers to. Regarding Li Gong's appearance state, it is also reflected in the article.
Born from the heart, it is not afraid of external objects, and the qi veins are continuous, which is wonderful. Li Gong's so-called "often using pen and ink as a game" is also the fashion of "ink opera" of literati in the Song Dynasty. But games are not child's play, they are based on a deep understanding of the face.
«——【·Conclusion·】——»
The so-called "do not stand an inch, be emotional, draw when encountering things, and ignore the gains and losses of her concubine at the beginning" seems to be a trick to the eyes, and the root cause is to enter the Tao. The so-called "Tiande" is the reason why the "Xuanhe Painting" says that its rate is slightly simple, and the secular work is unapproachable.
According to Li Gonglin's own words, that is, "I write poems for paintings", Li Gongxian's state seems to be innate, and his painting in his later years is not twilight. Yu tasted the "Statue of Xu Shen" pen and ink hastily. The spirit is sane, there are two quatrains, and they are also written by the old pen, which is very good. ”
Information sources:
The Spirit of Chinese Art