What does Fuchun Mountain Residence mean?

Fuchun Shan Jutu is set in Fuchun River, Zhejiang Province, with elegant brushwork, proper landscape layout and changeable ink color.

It is a paper ink painting created by Huang Yu 1350 in Yuan Dynasty, and it is one of the top ten famous paintings handed down from generation to generation in China.

Fuchun Shan Jutu is known as "Lanting in Painting" and is a national treasure cultural relic.

Huang was painted by his younger brother Zheng Xun (a useless teacher). He changed hands several times and was beheaded for "burning the painter's sacrifice". The first half: Yushan map, now in Zhejiang Provincial Museum; The second half of the volume: the useless teacher's volume, which is now in the National Palace Museum in Taipei.

Painting content

Fuchun Shan Jutu was originally painted on six pieces of paper, which were mounted into a long scroll about 700 cm long. However, Huang did not necessarily conceive the structure according to the size, width and length of each piece of paper, but let the individual's free creation relax between mountains and rivers and be seen from a distance. This browsing, moving and overlapping viewpoint is either wide-angle or close-up. In the process of browsing, the way of visual viewing is extremely free and unrestrained, and the angle is also very ever-changing.

The first part: The Canshan Map starts from a mountain with indomitable spirit, and it is a long and huge system, which has begun. On the screen, the mountains and peaks converge, round and thick, and the mounds slowly pile up, then turn left and slowly tilt. Huang used his most unique brushwork "dragon skin horse" to brush down forcefully with the center of the brush, forming a thick texture of earth on the picture.

In the second part, the development and change of mountainous areas have taken a turning point. With the change of the height of the mountain, the trees, slopes, houses and boats in the river in the painting have a sense of desolation surrounded by mountains and Shan Ye people. The second part will also cross a waterway to reach the destination. The main peak is on the left, the mountains echo on the left, and the nearby pine and cypress swing slightly to the right, echoing the distant mountains, connecting the preceding with the following, and returning to the peak.

From the second part to the third part, the ink color changes the most and the space changes the most. The second part also echoes the beginning of the third part. Huang's brush strokes suddenly turned, slightly using the dyed slope and the calm river surface, extending backwards. The picture is from dense to comfortable, and the distance is beautiful. Water waves, silk grass, vast water and fine sand are outlined in the painting with thick ink and fine pen, and the scenery is smart. Where does the water come from? It comes from clouds in the sky. In Tang poetry, it said, "I will walk until the water checks my path, and then sit and watch the rising clouds." If you follow the picture, the poor place on Fuchun River is its mouth, and then you think poverty is despair, but you have to sit down and watch the clouds rise. Clouds are just another phenomenon in life. Therefore, Huang also turned these philosophical and literary things into the interactive relationship between rock, water and sand.

The fourth part, the whole painting has the least pen and ink, no pollution, only mountains and water, which restores the true nature. The composition spans the fifth part, a piece of water and sand, the longest blank space, just like all seasons, time passes and years are in a hurry. There is a small tree slope with withered moss in the painting, and there is a small bridge connecting the fifth part on the river bank. The six parts of Fuchun Shan Jutu are also very similar to those of spring, summer, autumn and winter. From the first three films, it was magnificent, and to the fourth film, the time was like autumn and winter. Looking at everything, the prosperity is endless and the silence is boundless.

From the fifth to the sixth part, there are two boats in the middle of the white sand. The fishermen on board are just a sight, a tiny figure, a tiny life, just like a grain of dust in the whole blank space. A mountain in the distance, pen line drawing, ink dragging, intertwined, has continued to a large blank behind.

Creation background

The Yuan Dynasty divided people in the world into four classes, followed by Mongols, Semu people, Han people and southerners, and Huang became a "fourth-class citizen". After the country perished, the adherents of the Southern Song Dynasty struggled to survive in contempt and humiliation. For example, Gong Kai, a adherent of the Southern Song Dynasty, expressed his sense of loss after national subjugation in the volume "Thin Horse Map", and scholars who shared the same feelings followed suit and wrote a postscript after the map. This mentality of Jiangnan literati has lasted for nearly half a century.

Huang worked as a local official when he was young, first as a bookkeeper, and later as a rafter under a bureaucrat named Zhang rate when he was about 45 years old. Later, because Zhang Lu committed a lawsuit, Huang was framed and imprisoned. After he was released from prison, he stopped asking about political affairs and wandered around the rivers and lakes. Once, I made a living by selling divination. Later, he joined Quanzhen religion which advocated the integration of Confucianism, Buddhism and Taoism, and he even saw through the world of mortals. As a result of wandering mountains and rivers for a long time, I became interested in mountains and rivers. In order to appreciate the charm of mountains and rivers, when he lived in Yushan, Changshu, he often observed the changes and wonderful scenery of Yushan, learned from his heart and conveyed it with a pen. Some of his landscape paintings come from these mountains and forests. When he lived in Songjiang, he became obsessed with the observation of landscapes. Sometimes he sits in the mountains all day and forgets to eat and sleep. When he lived in Fuchunjiang, he always carried a leather bag with built-in painting tools. Whenever he sees the scenery in the mountains, he will write it down with exhibition paper. There is a Daling Mountain to the north of Fuchun River, where Wang Gong lived in seclusion in his later years. He took Daling Mountain as his teacher and drew the Fuchun Daling Map.

Fuchun Shan Jutu spent about seven years from conception, writing to painting. In order to paint this painting well, he worked tirelessly all day, running around the Fuchun River, observing the wonders of the changing clouds and enjoying the victory of fishing in Jiangshan Beach. He carries a pen and paper with him and sketches at any time when he meets a good scene. Many mountain villages along Fuchun River have left his footprints. In-depth observation, real experience, rich materials, so that the creation of Fuchun Shan Jutu has a solid life foundation, coupled with his perfect pen and ink skills in his later years, so he wrote leisurely.

artistic appreciation

theme

Landscape painting is not a simple description of natural scenery, but a painter's spiritual appeal and inspiration, an expression of the painter's attitude towards life and a reflection of the painter's pursuit of life. Fuchun Shan Jutu described a long river, which flowed through shoals, rapids and peaks in the history of 1000 years. The first paragraph is the feeling of summer, and the second paragraph is the scene of autumn. The leaves are partially faded, and they are all painted vertically, as if the prosperity is gone.

Fuchun Shan Jutu is not only a painting, but also a philosophy and an attitude towards life, which allows the creator to turn the pain of 90-year-old national subjugation into another thing, open his mind, get rid of the pain of foreign rule and return to the landscape, regardless of the rise and fall of the dynasty, just come back and be yourself and be simple. Zhang Shicheng is fighting for the world, Zhu Yuanzhang is fighting for the world, and the rule of the Yuan Dynasty is in jeopardy. When the author was in his eighties, he also felt that the rise and fall of the dynasty was not the most important thing, but whether there were "long mountains, chaotic clouds and green hills". In the painting, there is also the image of Yu Qiao's literati, who lives in seclusion in the mountains and rivers and lakes.

Painting skill

1. Overall style: The rocks in Fuchun Shan Jutu are winding and abrupt. Long and dry, full of skill, free and easy, quite aura. The brush and ink in the whole picture are elegant, and only a layer of almost transparent ink is covered on the rocks. The sand stains and wave shadows in the distant mountains and rivers are stained with a little dark ink, and moss and leaves are dotted with thick ink, which is eye-catching and natural. The whole picture is full of beautiful forests and dense vegetation, full of hermits, wandering fairies and indifferent poems, which exudes a strong flavor of Jiangnan literati. Completed the static and scattered features of Yuan painting and another change of China landscape painting, and the lyricism of Yuan painting was also reflected in this volume.

2. Composition: Fuchun Shan Jutu describes the early autumn scenery on both sides of Fuchun River. In the bushes, or fishermen fishing, or sitting alone in a thatched pavilion, leaning against the railing, watching ducks float and sink in the water. Forever and ever, as if time stood still, I forgot these two things. The water color on the shore is close-up, with one mountain and one sand, and the distant mountains are looming and slowly unfolding, but it is refreshing to feel the boundless river and the color of Tianshui. Sometimes the river is far and wide, which is a drop in the ocean; Sometimes near the shore, you can take a closer look at the leisure and tranquility of fishermen in the pine forest. It's refreshing to fish on the river alone, with the waves surging under the mountain. Then dozens of mountains are rolling, and the peaks are competing, and finally the peaks are protruding and far away. The mountains are dotted with cottages and thatched pavilions, with lush trees, thick trees nearby, curled shadows in the distance, fishing boats fishing in the water, and well-organized landscapes.

Fuchun Shan Jutu adopts the way of horizontal rolling, and builds the landscape on the same level according to people's normal vision, which is a kind of composition way of plane extension. On the screen, the painter designed a layered landscape, and the front and back of the mountain were arranged from near to far, which gave an effective connection between the front and back scenery in the way of composition. Between heaven and earth, all the scenes constitute an organic whole, which shows the real feeling of space in the blank, and also highlights the characteristics that the place without painting is also a wonderful place. Throughout the painting, we can see Mr. Huang's unique views on picture layout, image arrangement and space exploration. It is worth noting that in painting composition, Huang adopted a broad way to realize the transformation of painting composition. In landscape painting, Yuan Sijia adopted a painting method from near to far, with a very clear color spectrum, showing the broad meaning of the picture, leaving a broader thinking space for the viewer.

3. Dry Ink Method: In Fuchun Shan Jutu, the viewer can't see the expression of thick ink, but reflects the taste of autumn in the elegant style. The painter uses the traditional brushwork of literati painting to express the picture scroll. In painting, most of them are expressed by dry lines. Thick ink and wet ink can only be seen in the description of trees. This is the so-called silent feature of moistening things, which is both casual and soft. When expressing mountains, whether it is thick ink or indifference, dry brushwork is used to hook the effect, gradually from light to thick, and finally through thick ink to hook, thus achieving the same effect. When drawing a tree, the trunk is either boneless or outlined with two simple strokes, and the distribution of leaves is patchy. In Fuchun Shan Jutu, the painter realized the transformation between form and pen and ink with one stroke. The painter's pen is full of water, combining the characteristics of dots and dyes, and the whole painting is very rich in changes. The thick ink sketch of the tree is in sharp contrast with the mountain shape, and it is elastic when wet and dry. In Huang's view, using ink is very important. First, you can gradually transition from light ink to thick ink, and you can see the characteristics of moistening on paper. This view of the painter is the understanding of the use of pen and ink in Yuan Dynasty, which highlights the effective combination of pen and ink and achieves the effect of both form and spirit.

4. Dry brushwork: In Fuchun Shan Jutu, the viewer regards the author's brushwork as pure brushwork, instead of using thicker brushwork to express the picture scroll, but simply outlines the autumn rhyme in the picture scroll with elegant brushwork. Mr. Huang used dry lines to express the picture scroll when he expressed his calligraphy and painting, which is the traditional expression technique of literati painting. In the application of ink method, only thick ink and wet ink are used on the outline of the tree, and dry pen with light ink is used for everything else, which highlights a special ink method of indifferent dry pen. For example, when painting mountains, dry pen, light ink painting, thick ink pen collection, light and dark combination, the whole picture looks light and decent, obviously in one go. The distant mountains and the mainland in the painting are all depicted in light ink, but only a little trace can be seen, and only its shape and pen and ink can be seen in the light description. The hillside and waterline are redrawn with thick ink, light ink and dry ink, which makes the painting show the characteristics of combining light and shade, and naturally, the paper performance is very good. The thick ink stippling of trees is in sharp contrast to the light ink depiction of mountains. The combination of dry and wet, light and thick, the whole painting presents a picture with rich rhythm changes.

5. Horse brush method: In Fuchun Shan Jutu, according to the extension of Fuchun Mountain context, the painting method of "long horse brush" was adopted. The river surface is represented by horizontal long ridges, and the shallow water at the intersection with mountains is also represented by long lines. Mountain peaks and slopes are described by horizontal points in shadows, while the jungle is described by the changed "Mi Dian Regiment" method. The change of thickness, the combination of aggregation and dispersion, the combination of near and far shades and dry and wet, is desolate and boundless. The mountains and peaks in the distant mountains are dotted with light ink and small vertical points, which are fine on the top and thick on the bottom, like points and non-points, like trees and non-trees. Most rocks are wiped with dry pen, and the lines are dense; Longpima is given priority to, with a little Jie Suocun; The turning of the pen is flexible and free, and the ink is mixed with reality and dryness.

picture

There are seven people in the painting. Fishermen and loggers first appeared. Fishermen are fishing and woodcutter is cutting wood. Fishermen and woodcutters are definitely not ordinary people. In the Yuan Dynasty, most people who were not officials lived in seclusion, fishing and chopping wood for a living, or setting up stalls on the roadside to tell fortune and selling divination for a living. There is also a scholar in Mao Ting, wearing a tall hat, sitting in a pavilion watching ducks and fishermen. Scholars can be fishermen, and fishermen can also be scholars, but their roles can be changed. The creator actually has a metaphor here, that is, two people with different roles. A scholar can release himself into the landscape and become a fisherman, or he can come out and become an official of the court. In the past society, this kind of exchange was possible. The last two boats were on the river. They saw four people on board.