Abstract: The representative figure of Zen painting is Fan Long. Li Gonglin has a good relationship with the development of Zen painting. The Southern Song Dynasty minister Lou Key went to Xuedou Mountain to find Zhirong during Chunxiwei's eight years. The word "minus pen" is derived from Xia Wenyan's comments on Liang Kai's paintings, "It is said that all people in the world are sloppy, called subtraction." The Southern Song Dynasty Zen master Ju Jian inscribed in the "Old Rong Scattered Sacred Painting Axis": "Today, only one piece of paper of "Grain Thorn" remains, and the speaker's faint ink is not permanent enough.
introduction
The brush and ink style of Southern Song Dynasty Zen painting is mainly composed of white strokes, subtractive strokes, and ink types, and the white stroke style originates from the white drawing method of Li Gonglin of the Northern Song Dynasty, which is mostly used in figure painting, which does not occupy the mainstream in the development of Zen painting, and the representative figure is Fanlong; the reduction of brush and splash ink as the main axis of the development of Southern Song Zen painting, its style has been skillfully formed in the early and middle period of the Southern Song Dynasty, mature in the middle of the Southern Song Dynasty, and has a strong stylized characteristics, the representative figures are Liang Kai and Fa Chang.
Fan Long, the character Maozong, the number of no dwelling, when most people called it Longshi. A native of Wuxing (present-day Wuxing, Zhejiang), he was a painter of the early Southern Song Dynasty and was active during the reign of Emperor Gaozong. Fan Long was originally a monk of Yanqing Temple in Zhenjiang Province, who only learned high rice and was appreciated by the court magnates. Fan Long was married in Jingshan, Huzhou, and there was no living house, and famous people such as Zuo Xiang Ye Mengde and others wrote poems for him, which was famous all over the world. After that, the Imperial Ancestral Temple lived in Wansong Yinjindi Mountain, and after the demonstration, Emperor Gaozong gave Jin to bury his hometown mountain, which inferred that Fanlong died before Emperor Gaozong.
After Emperor Xiaozong succeeded to the throne, he ordered the creation of the ChangzhaoYuan in the former residence of Fanlong, and the fanlong disciple Shangshou Zhiye was responsible for taking care of it. Fan Long paints white characters, including Buddha statues, arhats, literati, etc.; it also serves as horses, landscapes, dead wood and strange stones. The painting style is similar to that of Li Gonglin, and Emperor Gaozong liked his paintings very much and often praised them. Fan Long's heirloom works include the white depiction of the "Luohan Crossing the Sea Scroll" and the "Sixteen YingZhen Picture Scrolls", both of which are extremely long hand scrolls, which belong to the common way of loading and viewing in the collection of court magnates, which are different from the vertical axis ancestor statues used in Zen ritual hanging.
Tu Fanlong's "Sixteen True Picture Scrolls" has a delicate style of fanlong painting, which belongs to the representative of Li Gonglin's school of painting, which is in line with the aesthetic taste of the current court. Due to the influence of Fan long's upper class, it had more opportunities to make friends with literary and ancient celebrities, and Fan Long collaborated with Mi Youren, a painter who was also deeply appreciated by Emperor Gaozong, "Maha look at the cloud map". Fan Long's white depiction of arhats had a certain influence on later generations of Zen paintings, such as Hui Fan in the Yuan Dynasty, who was a painter who obtained his brushwork.
Li Gonglin (1049-1106) had a lot of roots in the development of Zen painting, and he created a large number of Buddhist images, which promoted the independent development of white painting in the history of ancient Chinese painting. Li Gonglin liked to participate in Zen, and he was a resident of the Dragon Sleep, and he often interacted with Zen monks and monks, and often talked about Zen with Su Huang, Miti and other scribes. There are many works that are the most important types of Zen paintings in later generations, such as Guanyin on the Stone Residence, Luohan (Sixteen Arhats, Eighteen Luowu, Dushui Arhats), Shakya Chushan Statue, Vimal, Sleeping Cloth Bag, Manjushri, Ku Yin Tu, Drunken Monk, Fish Monk, Xiao Xiang Lying Tour, Zen Hui Tu, Wang Jinggong Riding a Donkey, Riding Bull, Mo He, Mo Mei and so on.
Li Gonglin's painting style not only had an influence on Fan Long, but also Li Gonglin, a Zen monk in the Northern Song Dynasty, who could paint landscapes, pine stones, and figures, and was known as a variety of masterpieces; at the end of the Northern Song Dynasty, the Huayang Zen monk Zhou Chun painted Buddha statues of Li Gonglin; Jia Shigu, the teacher of Liang Kai in the Southern Song Dynasty, was also a representative of Li Gonglin's school. In addition to the works mentioned above, there are also the Southern Song Dynasty's crazy Dao Chong Zan "Guanyin Tu" (Japan's Guangming Temple Collection), the Southern Song Dynasty Wuzhuan Teacher Praise "Guanyin Tu", the Yuan Dynasty Pingshi Ru zhi praise "Guanyin Tu" and "Four Sleeping Figures" and so on.
This kind of white painting of the shape of the clear thin line has a strong atmosphere, which is convenient for many details to depict, and there is no contradiction with the sentiment of Zen painting, and the acceptance is widespread, which is a painting style that can be appreciated by the court, the scholar, and the Zen mouth. Although ancient and modern scholars have exaggerated Li Gonglin's influence and status in the history of Zen painting, they are not without basis. To some extent, as long as it is an ink work with a sketching brushwork, it can be seen as a change and extension of the white brushwork. It is only in the development of Zen painting, influenced by the Zen principles, that a single sketching brushwork is bound to be impacted by a more creative and more suitable art form for expressing Zen principles.
The Southern Song Dynasty minister Lou Key went to Xuedou Mountain to search for Zhirong during the eight years of ChunXiwei, exchanged paintings with him, and after Zhirong's death, he interviewed Zhirong's disciples to dictate his life deeds, thus compiling and recording it into a text "Book Old Niu Zhirong", and the understanding of Zhirong's life and painting in later generations is based on this.
Zhi Rong (1114-1193), whose original name was Xing Cheng, was a native of Hualiang (present-day Kaifeng, Henan). After the Song Dynasty crossed south, he lived in Wansongling in Lin'an (present-day Hangzhou), and his medical profession was transferred to his career, and the official Chenghelang entered and left the court, which was highly valued. At the age of fifty, he gave up his official position and became a monk at the Lingyin Monastery in Kangzhou, during which he traveled to Fangjing Mountain and Kuanglu, often staying in the secluded places of the mountains and rivers, and then finally aged in Xuedou Mountain in Qingyuan (present-day Ningbo) in eastern Zhejiang. Zhi Rong was ordained at the age of 50, died at the age of 80, and the monk was 30 years old, and it was only after Zhi Rong left home that he began to have the form of painting known to the world. It can be inferred that Zhirong's creative period was around 1193.
Zhirong's works can be roughly divided into the following categories: animals, cattle are the most, both dragons and snakes; flowers and birds: years and cold friends, geese; characters: Maitreya, Sansheng, ghosts; scenery: boats on the river, etc. Zhi Rong painted Niu Zhichang, and the painter Fan Ziqiao, a Taoist priest in Chengzhou (present-day Lishui, Zhejiang). Zhi Rong put forward the important Zen painting theory of the form of god - "Two strokes theory of the so-called two authors, gai wants to be a character, you must first draw the eye above the danger, these two strokes as people intended, then the rest are written with the pen, the spirit is enough." The "two-stroke theory" corresponds to Gu Xizhi's "finishing touch", the difference is that Gu Xizhi's "finishing touch" is a supplement based on the completeness of the physical portrayal after the completion of the picture.
This is in line with the principle of seeking the Tao, and Gu Xizhi's "eye-catching" is a process of gradual sublimation. The "two strokes" of ZhiRong are the beginning of the painting before the beginning, these two strokes determine the overall atmosphere of the picture, if the opening brush can not get the spirit of painting, then the rest of the image pen and ink are in vain, sent to zen "epiphany" thought is the same. It can be seen that the painting has gradual dun, Gu Xizhi's finishing touch is "gradual", and Zhi Rong's two strokes are "dun".
Zhirong's "two-stroke theory" has taken a step forward in the theory of figure painting on the basis of Zen painting. Later Shi Tao's "Quotations on the Painting of bitter melon monks" wrote: "Taigu can't, too simple is not scattered, too simple is scattered and the law is established, the law is standing in He Li, standing in a painting." A painter, the foundation of all things, the root of all things; see for God, Tibet for man, and the world does not know, so! The method of a painting is self-reliance. Whoever establishes the law of one painting cannot give birth to the law, but also the law of the multitude.
The painter of the husband, the one who is subordinate to the also. The concept of one of his paintings is compatible with Zhi Rong's theory of "two strokes". It is all a process of connecting painting with the inner laws of nature, starting from the tun and always being. Deng Chun in the "Painting Succession" volume "Cave Master" once painted the monk Zhou Chun at the end of the Northern Song Dynasty as an example, commenting on the creation method of the character painting "Nine Decadences and One Strike", "The painter must be nine decays and one stop, that is, the first shake of the pen seems to be modified several times, so it is known as the Nine Decadences, followed by a sketch of light ink, so it is known as a strike, and the striker Bi Ye. Pure independence does not fake this, the pen is completed, and the atmosphere is vivid. Every person knows: books and paintings are exchanged in the same way, and the good bookmakers decay first and then write evil? ＂
This kind of painting method should be a transition from a more detailed white drawing figure to a thick brush and ink figure. Since "pure independence does not pretend to be this", it should be the mainstream to repeatedly modify and determine the shape of the painting method before the two Song Dynasties fall in ink. Regardless of whether it is formed or not, the ink figure painters of the two Song Dynasties can do it in one swing, mostly attributed to the Zen Forest. Zhou Chun's calligraphy reflects on painting, which is a concept in which the ink and thick brush figures in the Zen forest integrate the emotions and actions of the painter. The "two-stroke theory" of Zhi Chen raised this concept to a new level, and the "subtractive strokes" that later became popular in Zenlin were a progressive relationship.
The word "minus pen" is derived from Xia Wenyan's comments on Liang Kai's paintings, "It is said that all people in the world are sloppy, called subtraction." From this, when it comes to subtracting pens, Liang Kai is the first to be promoted. The representative of Liang Kai's reduced strokes is "Li BaiQiao Yin Tu", which is a work with some Zen themes, in fact, most of the Zen paintings of the Southern Song Dynasty belong to the type of reduced strokes. The characteristic of "subtracting pen" is to outline the ingenuity with a very general and deliberate brushwork. Subtraction, while the penmanship is extremely simple, also has a strong expression and the integration of rhyme, which has a high degree of requirements for the coherence of the momentum of the brushwork.
The Fifth Dynasty Jing Hao's "Notes on Penmanship" mentions: "Although the author is according to the law, the luck is changed, it is not qualitative or shapeless, like flying like a movement." It refers to the fact that the brushwork should be not limited to the shape, and it also implies the breath of circulation and flight. Although the period when Zhirong put forward the "two-stroke theory" did not yet have a clear concept of "reducing the brush", this kind of painting concept of opening the pen to see the rhyme and enter the spirit is in line with the overall idea of Chinese freehand painting.
The Southern Song Dynasty Zen master Ju Jian inscribed in the "Old Rong Scattered Sacred Painting Axis": "Today, only one piece of paper of "Grain Thorn" remains, and the speaker's faint ink is not permanent enough. The "reckless two" here is a pejorative meaning of Ben Tu, but "light ink is faint" vividly summarizes the iconic painting style of Southern Song Dynasty Zen painting. Zhi Rong's current legacy is only the "Cow Herding Map" of the "Cow Herding Map" of the Wei Ben Zhuang Goro, in the middle of the painting, is a shepherd boy waving a bull, the character is outlined, the cow body is light ink stained, the background is relatively empty, and the lower right side sweeps out of the slope foreground, making the picture more in-depth, this light and sparse style is the embodiment of the temperament of the two.
During the Southern Song Dynasty, although there were many Zen paintings with reduced brush strokes that could be classified as the two systems, the most representative of the temperament of the two should be splashed ink works. Because splashing ink is the most suitable for fully expressing the blended, hazy, and broad artistic conception, the two Zen paintings show the hongmeng state of elephant drowning between existence and non-existence, between virtual reality. For example, Fa Chang's "Eight Views of Xiaoxiang Picture Scroll", in the painting, the landscape and the smoke and the wind, the pen and ink like clouds drifting and wandering, the painting realm is virtual and real, and the painting is like looking at me, watching me and forgetting me, the whole picture has a strong sense of tolerance and absorption. Through the multiple interpretations and applications of the two paintings, the characteristics of the two paintings are summarized, and the characteristics of the two paintings are roughly like this: the ink color is faint, the brush gestures are soft, the sparse and harmonious, and the distance is deep and deep.