Wen | Xia Shaoyi
【Abstract】:Dong Yuan was a famous landscape painter in the Southern Tang Dynasty of the Five Dynasties, and he was also the founder of the Southern School of Landscape Painting, and he was the deputy envoy of Beiyuan when He was the lord of the Southern Tang Dynasty, Li Jing, so he was also known as "Dong Beiyuan". According to the history of painting, Dong Shishan landscape figures, yunlong, cattle and tigers, omnipotent, especially landscape painting is the most famous, creating the southern school of landscape. His landscapes are mostly painted with the real mountains of Jiangnan without being strangely steep, and the record says that his landscapes and rivers are more than "plain and innocent, and Tang has no such products". His landscape paintings draw on the strengths of Wu Daozi, Wang Wei, Li Sixun and others to form their own unique personal style. His first "Phi Ma Zhen" was worshipped by countless people in later generations, but it was never surpassed. This article tries to analyze what kind of pen is used in Dong Yuan's landscape paintings. Why it is difficult to be surpassed by future generations, welcome landscape painting enthusiasts to criticize and correct.
Keywords: Dong Yuan; landscape painting; Phi Ma Zhen; pen and ink lines;
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Five Generations Dong Yuan's "Xiaoxiang Tu" The Palace Museum Collection Part 1
First, the great influence of Dong Yuan on landscape painting in later generations is difficult to describe in words.
Dong Yuan's creation of the "Phi Ma Chuan" as the main method of using pen and new style was followed by the Monk Juran when he was alive, and later generations called Dong Ju together. In the Song Dynasty, Mi Fu and Shen Kuo greatly appreciated the Dong Ju school of painting, which pushed Dong Ju to the peak of history, and in the Yuan Dynasty, the custom of taking the law of Dong Ju gradually spread, thus becoming uncontrollable. Tang Gao believes that "Tang painted landscapes to the beginning of the Song Dynasty, such as (Dong) Yuan is above the princes", and a new understanding of Dong Yuan has emerged. In the Yuan Dynasty and the Wumen Sect of the Ming Dynasty, Dong Yuan was regarded as a model, and although the "Southern and Northern Sects" theorists in the late Ming Dynasty theoretically respected Wang Wei as the "Southern Sect Painting Ancestor", they were actually referring to Dong Yuan in the ancestral narrative. Huang Gongwang of the Yuan Dynasty said: "Those who make landscapes and rivers must take Dong as their teacher, such as Du Ye, who learns poetry." Wang Jian of the Qing Dynasty said, "If there is Dong Ju in painting, there is King Zhong in a book, and if there is a foreign way." It can be seen that Dong Yuan was able to exert such a far-reaching influence in later generations, which is rare in the history of Chinese landscape painting.
Five Generations Dong Yuan's "Xiaoxiang Tu" The Palace Museum Collection Part 2
2. What is "Phi Ma Chuan"?
Pi Ma Jiao, also known as "Ma Pi Jiao", is a kind of landscape painting method, founded by the five generations of Dong Yuan. The structure and texture of the mountain stone are represented by a combination of flexible center lines, which seem to be scattered and scattered with hemp skin, hence the name. It is often used to represent stones with less pronounced slopes or peak ridges in the south.
There are two kinds of long and short phi ma, mainly for the center of the pen, thick lines, bulging, round and unguided corners. The lines are not straight and hard, with a little curvature, slightly curved like orchid, and appear very tough. The line should be used with the pen to the end, and there can be no pause in the middle, so that the drawn line will appear vigorous and vital. Compared with the axe splitting, the ink used in the Phi Ma Chuan has less water content, the brush strokes are mainly centered, and the pen is calm and powerful, which is suitable for expressing the soft tushan in Jiangnan.
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Five generations of Dong Yuan River embankment evening view, silk color
Third, how did Dong Yuan use the "Phi Ma Chuan" to paint mountain stones?
Dong Yuan's landscape painting mainly learns From Wu Daozi, Wang Wei, Li Sixun and others, and the "Phi Ma Jiao" in his landscape paintings is calm and thick with a pen, slightly curved, and the brush strokes change less, and the whole appears very unified.
For example, his mountain stone painting method in "Xiaoxiang Tu" is like this.
Dong Yuan's painting method of "Phi Ma Chuan" is mainly derived from the wrinkles of wang wei and Li Sixun's lines, but he has made the lines denser and longer on the basis of Wang Wei and Li Sixun.
Dong Yuan Phi Ma 001
The overall pen essentials of Dong Yuan's "Phi Ma Chuan" are as follows:
First use a thicker ink color, the center line pen outlines the mountain stone outline, and then add the color with a lighter, drier ink color, and the pencil also uses the center, and finally renders with light ink. The pen is crisp and neat, in one go, like the autumn wind sweeping the leaves, and it is very calm in the flow, and the pen and ink lines have great tenacity. The first time, after the ink color is completely dry, continue to wrinkle another layer, and finally the wrinkle line layer after layer, the overall mountain stone is thick and strong, which is a good performance of the thick and thick characteristics of jiangnan tushan, which is very difficult to grasp with the pen. After many people learn Dong Yuan's painting method, either the lines are densely stacked together, breathless, and finally the picture is more and more dead, and it is impossible to watch at all; or the lines are too flat and square, the lines are disorganized, and the overall appearance is thin and charming.
Dong Yuan Phi Ma Chuan 02
How does Dong Yuan's "Xiaoxiang Tu" use the pen?
Dong Yuan's "Xiaoxiang Tu" depicts a slowly undulating earth mountain with a short cloak of linen, slightly rendered with flower blue, and dyed with a large amount of light ink, which looks very lush and reckless.
Dong Yuan Phi Ma 003
"Xiaoxiang Tu" depicts a lake and mountains, the mountains are gentle and continuous, and the sandbars and reeds in the large water surface are endless. In the painting, the ink is mixed with light colors, and the mountains use the idea method, almost no lines, and the ink dots are used to express the vegetation of the distant mountains, creating a blurry and textured mountain silhouette. The thick and thick ink spots show the undulating bumps of the mountain stones. The painter leaves a little blank space when rendering the ink, creating a feeling of mist and clouds, deep mountains and forests, and faint smoke and water. In the landscape, there are also characters fishing boats dotted among them, giving bright colors and depicting subtleties, adding infinite vitality to the quiet and deep mountain forest. From the fifth dynasty to the early years of the Northern Song Dynasty, it was a mature stage of Chinese landscape painting, forming different styles, which were summarized by posterity as the "Northern School" and the "Southern School". Dong Yuan's picture is regarded by the history of painting as the pioneering work of the "Southern School" landscape.
IV. Conclusion.
All in all, Dong Yuan's "Phi Ma Chuan" was changed on the basis of the ancients. Mainly for the center of the pen, the pen is crisp and refreshing, round and thick, like a "house leak", which is very suitable for expressing the soft and vast mountain stones in the south. His cloak is very thick and dignified at the beginning, the end, and the turns, and this sense of thickness stems from his excellent use of the center. The excellent use of the center forward brushwork is a great feature of Dong Yuan's "Phi Ma Chuan". The mountain stone painted in this way is very flavorful, majestic and thick, and the overall sense is very strong.