Urgent! ! ! In China's ancient paintings, since the Tang Dynasty, why did Jinbi landscape painting have a declining trend, while ink painting had a developing trend?

An overview of sui and Tang dynasties art

Sui Dynasty (AD 58 1-6 18) unified the whole country, ending the social division and turmoil in the Jin Dynasty and the Southern and Northern Dynasties for more than 300 years. With the rapid economic recovery, the rule of the new dynasty began to consolidate. At the same time, the trapped dynasty dug canals to connect the north and the south, which accelerated the economic and cultural exchanges between the north and the south, thus promoting the prosperity of culture and art.

Fine arts in Sui Dynasty were closely related to political and economic stability. At that time, painters from North and South gathered in Beijing, influencing and blending with each other. The main painters are Zhan Ziqian, Dong Boren and Zheng Fashi. In addition to paintings and murals, scroll paintings became popular in the Sui Dynasty. You Chuntu by Zhan Ziqian is the earliest preserved scroll painting of landscape painting in China, which can represent the landscape painting at that time. Zhan Ziqian made outstanding achievements in painting and was one of the outstanding great painters before the Tang Dynasty.

Painting in this period played a bridge role from Wei, Jin, Southern and Northern Dynasties to Tang Dynasty.

The Tang Dynasty was the heyday of China's feudal society. Due to the rulers' policy of easing social contradictions, the development of social production was promoted to a certain extent, and the feudal economy was quickly restored and developed. Economic development and social stability created favorable conditions for the development of culture and art, and the fine arts in the Tang Dynasty reached an unprecedented height in the history of fine arts in China. Painting, in particular, not only has a distinctive style of the times, but also has the significance of other times. In the prosperous Tang Dynasty, figures, landscapes, flowers and birds, ghosts and gods, pommel horses, curtilage characters and other paintings sprang up, which not only served as a link between the past and the future in China, but also had a far-reaching impact on eastern countries. China culture is widely spread in Japanese, Korean, Vietnamese and other countries. In various dynasties, many countries sent overseas students to study painting, sculpture, calligraphy and other arts. Relations with India are also getting closer and closer. Xuanlei went to India to learn from the scriptures and brought China's culture and art to India. This international cultural exchange has promoted the development of China culture in different degrees. Therefore, the fine arts of the Tang Dynasty occupy an extremely important position in the history of fine arts in China. Up to now, there are about 400 painters who have been recorded or traced back to this era. They are really talented and have their own advantages. Among them, outstanding painters include Yan, Wu Daozi, Wang Wei, Cao Ba, Han Wo, Han Lian, Natalie, Bian Luan and so on. They have made great achievements in poetry, calligraphy, painting and so on. They are unique in art and famous all over the world.

At that time, painting seemed to have branched off, and the development of figure painting was more vigorous. For example, when Wu Daozi created the artistic image, he mastered the principle of "keeping God and focusing on one" and achieved the wonderful purpose of "stealing words". Because of his outstanding painting achievements, he won the reputation of "painting sage". After the prosperous Tang Dynasty, a new painting subject appeared in figure painting, namely the so-called "graceful picture". Both painting and sculpture require graceful eyebrows, plump cheeks, magnificent and brilliant colors, exquisite I: overall painting style and the appearance of "emotional jokes", which show the female image of feudal nobles and have distinct characteristics of the times. It reproduces the natural beauty of landscape painting and oil painting, and also gets greater development.

At the exhibition, painters of different styles competed to appear. Li Sixun's father and son's meticulous description, resplendent landscapes, Wang Wei's landscape painting of "painting in poetry, painting in poetry", and so on. In addition, some painters are good at certain subjects, such as cows, horses, eagles, cranes and dragons.

Murals and sculptures in the Tang Dynasty also show the most brilliant features of China's Buddhist art, with new developments in subject matter, content and expression. From the perspective of murals, there are abundant murals in grottoes, such as the Thousand Buddha Cave in Qizil, Baicheng, Xinjiang, the Mogao Grottoes in Dunhuang and the Maijishan Grottoes in Tianshui, which preserved works from Sui to the early Tang Dynasty, the prosperous Tang Dynasty, the middle Tang Dynasty and the late Tang Dynasty. In addition to Buddhist paintings, there are people, historical stories, landscapes and animals. Among these murals, Dunhuang murals are the richest and largest. In terms of sculpture, Buddhist statues are spread all over the country, and their artistic style is more realistic and vivid, which fully embodies the national characteristics. There are many Tang Dynasty statues in Longmen Grottoes in Luoyang, Mogao Grottoes in Dunhuang and Maijishan in Tianshui. Sculpture in the Tang Dynasty, there has been a division of labor, not only clay sculpture, stone carving, wood carving, but also architectural sculpture, gilding and other occupations. The colored sculptures in the Tang Dynasty have been further developed, and their techniques are more realistic.

The brilliant achievements of painting and sculpture in the Tang Dynasty occupy an important position in the history of fine arts in China. On this basis, the previous generation of fine arts inherited and developed and improved day by day.

Spring outing and Zi Qian in Sui Dynasty

You Chuntu is the oldest landscape scroll in the works of famous Chinese painters, which was handed down by Zhan Ziqian in Sui Dynasty.

Zhan Ziqian, a native of Bohai (now Yangxin, Shandong Province), lived through three dynasties: Northern Qi, Northern Zhou and Sui. Called by Emperor Wendi of Sui Dynasty, he was appointed as the doctor in the DPRK and the manager under the account. He was a representative painter of the Sui Dynasty. Zhan Ziqian is good at painting pavilions, horses and mountains. His descriptions of characters are very skillful, colorful, vibrant and meaningful, and he was named "the ancestor of Tang painting" by the famous painting manager Tang ("Painting Guide"). The horse made has a trend immediately, and the side of the lying horse has a jump shape. Therefore, Zhang Yanyuan, a famous art historian in the Tang Dynasty, said in "Famous Paintings of Past Dynasties": "He who shows horses and chariots wins." His landscape is exquisite, touching the scenery, especially depicting the distance of mountains and rivers, which is interesting and poetic, as "Xuan He Hua Pu" said: "Just like a poet." According to historical records, Zhan Ziqian is also a famous mural artist. He traveled all over the country and made murals in Guangming Temple, Lingbao Temple Temple, Yunhua Temple, Chang 'an Temple, Dongan Temple in Jiangdu (Yangzhou), western Zhejiang, Sichuan and other places, leaving many traces, even in the Shang Dynasty. However, due to floods, mutinies, fires and other disasters, Zhan Ziqian's works were seriously lost, and it was hard to see them in the Ming Dynasty. Therefore, it is not unreasonable that Dong Qichang regards You Chuntu as a "rare" Mo Bao and Zhan Jingfeng regards You Chuntu as a rare "treasure". This shows that "You Chuntu" not only has high artistic achievements, but also has the precious value of filling the gap in the development history of traditional landscape painting in China.

You Chuntu is a large turquoise silk scroll inscribed by Evonne, Song Huizong. The whole group depicts the leisure life of the officials and nobles who went for an outing in the suburbs of Beijing in the sunny and pleasant spring season. At the top right of the picture, a large mountain forest is given, and a lake embankment path winds into the ravine. At the foot of the mountain, there are "peach roads, plum paths and flowers", and there are "green trees" on the mountain, which are full of rich spring. People either ride horses or stand and watch. The painted four horses, walking slowly, trotting with their heads held high, running with their hooves raised, bowing their heads and exerting their strength, have different expressions, just like tigers, which add an opportunity to the quiet scenery in the distance and have a good artistic effect of adding motion to silence, which not only shows the artist's artistic skill in drawing horses, but also shows his talent in composition, scene selection and conception. The word "mountain forest house" in the lower left corner corresponds to water division. On the grass by the lake, two people stood and looked at the spring with a faint wave on the lake, carefree. The middle part of the picture is set with a large water color. From near to far, the water is full of days. On the rippling lake, a gorgeous yacht is rippling with the waves, and three women are staring at the fields, intoxicated by the beautiful lakes and mountains, lingering. "You Chuntu" depicts mountains, rivers, people, trees and stones with green coloring method, and directly dyes them with green paving stones without any damage, thus making the picture light and heavy, natural in thickness and clear in light and dark, showing the magnificence of Gu Zhuo, and playing its due role in rendering the picture atmosphere and deepening the picture. You Chuntu was highly praised by later generations, who wrote poems and wrote many kinds of inscriptions. Among them, there is a poem in the Yuan Dynasty: "Warm wind blows waves and gives birth to fish scales, painting like the West Lake in spring. Brocade poets chase each other, and the peach blossoms and apricot blossoms in Bishan are evenly distributed. Pink eyes are drunk, weeping willows try moths. The world has its own Peng Tao, and the fairy source is not true. The dangerous bridge is about to turn, flying straight down the smoke maze. Painting a boat is also good for poetry, and cicadas may not fly in the morning. The water of Erweng is clear and blue, and the old age is like wine in the morning. There is nothing unusual about watching white clouds. I want to hear about otters in the wind. I don't know when the flowers fall out of the hole, and the spring water in Yaochi is dry. " This reveals the content and profound meaning of You Chuntu's painting, which can be said to be the finishing touch.

You Chuntu is an important work in the evolution stage of China's early landscape painting. Its breakthrough in the form and pattern of landscape painting has played an important role in promoting the development of China landscape painting towards independent painting. During the Wei, Jin, Southern and Northern Dynasties, landscape painting in traditional painting appeared as a foil to the story painting of characters. At that time, when painters painted, they painted the houses of the characters very big, and there were few trees and stones dotted with mountains and rivers. There is no natural proportional relationship between objective things, so although the characters are extremely wonderful, the mountains and rivers are often choppy. The ancients called it "more people than mountains" and "water can't be flooded". In dealing with the perspective relationship, Zhan Ziqian's You Chuntu has begun to pay attention to the general relationship and depth level between objective objects and images, and developed landscape painting into a more proportional new pattern. This work is mainly based on natural scenery, supplemented by scenic figures, and the pavilions and bridges are completely new. Compared with the landscape works before the Sui Dynasty, the peaks are like rhinoceros decorated with steel, the running water is not allowed to be flooded, the trees and stones are lined up, and the fingers are stretched out, which is a great progress. Its appearance marks the end of the embarrassing stage of the previous generation of landscape painting, and the relatively complete landscape painting creation of "green and colorful, skillful and neat" gradually begins.

Zhan Ziqian is a painter who connects the past with the future. His landscape painting style was inherited by Li Sixun and Li Zhaodao in Tang Dynasty, which had a great influence on later generations. You Chuntu has always been regarded as an important work of "the source of green landscape" by critics, which is of fundamental significance in the development history of landscape painting.

Longmen stone carving Buddhist temple

Twelve kilometers south of Luoyang City, Henan Province, there is a river called Yishui. It confronts the green hills on both sides of the strait, forming a natural gate, which is called a gate in ancient times, also known as Longmen. Bai Juyi, a great poet in the Tang Dynasty, praised: "The scenery in the suburbs of Luodu wins, and Longmen is the first."

However, the reason why Longmen attracts worldwide attention is not because of its beautiful scenery, but because of its carving art. Grottoes are all over Yishui. Up to now, there are1002 caves and shrines of all ages and more than 97,000 large and small statues on the limestone cliffs, which are 1000 meters long from north to south. This cave group is as famous as Mogao Grottoes in Dunhuang, Gansu and Yungang Grottoes in Datong, Shanxi, and is called the "Three Grottoes" in China.

Luoyang is the capital of many dynasties in the history of China, and it is also the place where the first temple (White Horse Temple) was established after Buddhism was introduced into China. The excavation and prosperity of Longmen Grottoes are related to its location in Gyeonggi and the prosperity of Buddhism. In the second half of the 5th century AD, among the rulers of Tuoba nationality in the Northern Wei Dynasty, there was an emperor-Xiaowen Yuan Hong (467-499 AD), who loved Chinese culture very much, carried out sinicization reform in many aspects and changed his surname to Han. In order to rule the whole territory more conveniently and further learn the orthodox Han culture in the Southern Dynasties, he moved the capital from Pingcheng (now Datong, Shanxi) to Luoyang in 494 AD. Just before and after moving the capital, Longmen began to dig caves and make statues, which soon replaced Yungang Grottoes and became the center of carving activities in the Northern Wei Dynasty.

The statue of Longmen Northern Wei Dynasty marks a new stage of Han nationality of Buddhist statues in northern China. The foreign factors contained in the early statues represented by Yungang were integrated and digested by the powerful Han art tradition, and the sinicization policy was an important driving force for this change. Dressed in Bordet Hanfu, the Buddha statue has a delicate face, a gentle expression and a kind smile, which exudes the unique elegance of the Han aristocratic culture. This new sculpture style, represented by Longmen, was very popular throughout the Northern Wei Dynasty and can be seen in many existing northern Wei grottoes.

The Northern Wei Dynasty was the first peak of the Longmen Statue, but the peak was in the Tang Dynasty after 100 years. After the Northern Wei Dynasty, the Eastern Wei Dynasty, the Western Wei Dynasty, the Northern Qi Dynasty, the Northern Zhou Dynasty, the Sui Dynasty and the Tang Dynasty all built grottoes in Longmen until the early Northern Song Dynasty, which lasted for more than 400 years.

Luoyang was the eastern capital of the Tang Dynasty, and the construction of Longmen reached its climax in the early and prosperous Tang Dynasty. The representative work of Gaofeng is the Buddha statue of Rushena in Fengxian Temple introduced here. Like height 17. 14m, head height 4m, ear length 1.9m ... hands and legs were destroyed, but it did not lose the gambling momentum. The head of the Buddha statue is perfect and beautiful, with both the dignity of a man and the kindness of a woman. The eyes looking down are dignified and heroic, and the lips slightly upturned are noble and strict. This is not a religious idol of compassion, but a highly beautified incarnation of the Tang emperor. According to records, this giant Buddha and eleven diners in the same cave were rescued by Tang Gaozong Li Zhi (reigned in 649-683 AD) in the third year of Xianheng (AD 672), and Wu Zetian (AD 624-705) funded the excavation of 20,000 crowns of powdered milk, which was completed in the second year of Shangyuan (AD 675). Wu Zetian, who is in charge of the national hand, spared no effort to build temple statues in order to sing praises to herself. The giant Buddha in Fengxian Temple in Longmen is just an example. The main person in charge of the project is a monk. Like Yao Tan, the host of Yungang Grottoes in the Northern Wei Dynasty, he is also good at flattering and beautifying rulers by imitating Buddha statues. According to textual research, it is not just a coincidence that Wu Zetian's "square forehead is wide" and the basic head shape and femininity of Lushenafo are with her.

However, although there is no consensus on the evaluation of Wu Zetian, there is no consensus on the evaluation of the sculpture art of Lushina Buddha. It is so perfect, you can appreciate its beautiful outline and rigorous structure at any angle, which makes people never tire of seeing it. Its majestic, elegant, noble and serious wisdom often reminds people of the statue of Athena, the main god of the Parthenon in Greece, but it is more stable, complete and verve than Athena, like an unshakable mountain. It is more than four meters higher than the destroyed statue of Athena. If we put aside the shadow of Wu Zetian, it really vividly embodies the spirit of the times of self-improvement and striving for progress in the early Tang Dynasty.

The carving technique of the giant Buddha is extremely exquisite. The Buddha's head is decisive and accurate with a knife, with thick facial features and distinct lines. In contrast, the decorative spiral bun and big ears, simple clothing lines and gorgeous backlight make the head more prominent, beautiful and eye-catching. The facial features of the giant Buddha, such as crooked eyebrows and plump physique, reflect the aesthetic views and thoughts produced in the Tang Dynasty under the new historical conditions, and gradually form a sculpture style with strong characteristics of the times, giving people fresh, intense, magnificent and beautiful enjoyment.

Of course, all these praises will eventually be dedicated to the artists of the Tang Dynasty. In just three years and nine months, they dug a cave more than 40 meters deep and 40 meters wide on the hard limestone cliff, and carved a giant Buddha with a height of 1 1 between 10 and 18 meters. What a magnificent creation!

Bodhisattva statue in Tang Dynasty (Dunhuang painted sculpture)

/kloc-one evening more than 0/600 years ago, monk Leno trudged on the desolate Gobi road with Zhang Xi on his back. When I arrived at the eastern foot of Mingsha Mountain, my eyes suddenly lit up. When I looked intently, I saw three dangerous peaks opposite, glittering with thousands of buddhas. He quickly fell to the ground and decided not to move forward, because he finally found a "holy land". He recruited workers to dig a grotto on the cliff, shape Buddha statues and observe meditation. This was in 366 AD, two years before the founding of Fujian in the Qin Dynasty. In fact, those glittering "Thousand Buddhas" are the illusions formed by a devout Buddhist when the afterglow of the sunset shines on the jagged rocks of three steep peaks. That scene can still be seen today. Unexpectedly, the seeds sown by the musicians in those years have grown into a rare wonder-the Mogao Grottoes through the sweat and blood of the people of past dynasties.

Dunhuang, located at the throat of the Silk Road, was the first entrance and exit of China, so it became the first economic and cultural exchange point between China and the West, and the first stop for Buddhism to spread from the western regions to the East. With the development of economy and Buddhism, grotto art flourished. After the music monk discovered the "holy land", the cliffs about 1600 meters long in the north and south of the eastern foot of Wusha Mountain were carved by nobles, businessmen and Buddhist believers in the past dynasties. By the time of Wu Zetian, there were more than 1000 caves, so the Mogao Grottoes were also called Thousand Buddha Caves. However, due to the long-term destruction by natural forces and man-made, it suffered heavy losses. Up to now, about 500 caves, more than 2,000 painted sculptures and more than 45,000 square meters of murals built in more than ten dynasties, including Sixteen Kingdoms, Northern Wei, Western Wei, Northern Zhou, Sui, Tang, Five Dynasties, Northern Song, Xixia and Yuan, have been slaughtered.

This huge treasure house, which concentrated the artistic talent and wisdom of the working people of all ages, was discovered at the beginning of this century. The colorful sculptures, murals, precious documents and cultural relics in caves were robbed and destroyed by imperialists. After liberation, the Mogao Grottoes were protected by the state, all cultural relics were properly managed, and research work was further carried out. Scholars at home and abroad have conducted in-depth research on Dunhuang art and formed a new discipline: Dunhuang studies.

The Mogao grottoes were dug on the cliff of conglomerate, because conglomerate is thick and brittle, so it can't be carved. Ancient artists used clay sculptures to make Buddha statues, and then painted them to make them colorful and lifelike. The colored sculptures in Mogao Grottoes have gone through several stages: from naivety to maturity, from prosperity to decline. The colored sculptures in the early Northern Dynasties mostly imitated the styles of Buddha statues in the Western Regions and India, and gradually became Chinese in the later period, showing the characteristics of the Han nationality in terms of form, shape and clothing. In the Tang Dynasty, the characteristics of the Han nationality became stronger and the artistic level reached its peak. Especially in the prosperous Tang Dynasty, the colored sculptures are like peony in full bloom, full, luxurious, perfect, natural and Qiu Yan, which makes people feel relaxed and happy. The Buddha statue in Cave 45 introduced here is a representative colored sculpture in the prosperous Tang Dynasty.

In Buddhism, Bodhisattva is a saint after Buddha. However, their image is not like a Buddhist monk, dressed in simple sample clothes, but a portrayal of ancient Indian secular aristocrats: they wear gorgeous ornaments on their heads, sometimes necklaces and garlands on their chests, bracelets on their arms and wrists, and their anklets are full of jewels, which look luxurious and elegant. Due to the extreme heat in India, the Buddha statue is naked like a human being, sometimes wearing a ribbon-like dress and a skirt at most. Therefore, the Buddha is the most beautiful and lovely image in Buddhist art.

Bodhisattva was originally a male, but later it gradually became feminine because of its specific god of compassion, loving face, soft posture and gorgeous clothes. Among the bodhisattva statues in China, the so-called "Heaven and Man" bodhisattva with masculinity is rare. The Bodhisattva statue in the Tang Dynasty in Cave 45 is a typical female image. She leans into an S-shape and stands gracefully. The head is tilted slightly, under the curved arch eyebrows, the eyes are half closed, the eyes are hazy, the pursed lips are slightly tilted, and the face is noble and arrogant. This is obviously a statue of a noble woman in the prosperous Tang Dynasty, and there are many religious smells here. The Tang Dynasty was the heyday of feudal society in China, with great achievements in politics, economy and culture. In the prosperous Tang Dynasty, the national strength was strong, the four seas were rich, the ruling and opposition parties indulged in pleasure and pursued sensory enjoyment, which could not be reflected in art, so Buddhist sculptures also showed a tendency of secularization. It has become a trend for artists to boldly use geisha as a model to shape bodhisattva statues and boldly express the beauty of the human body. At the same time, the vulgar and fat aesthetic taste also dominates Buddhist art, which is fully reflected in the Buddha statue in Cave 45. The bodhisattva statue in Cave 45, with its exquisite description of appearance and posture, delicate expression of texture, exquisite makeup and painting, and excellent national style, is beyond the reach of later sculptors.

Bujitu Tang Yan Li Ben

Bujitu, Yan's famous painting in the Tang Dynasty, is the earliest historical picture of the unity of the Han and Tibetan nationalities in ancient China. It truly recorded an important historical event of the close contact between Han and Tibetan nationalities more than 1300 years ago, that is, the marriage of the famous Princess Wencheng and Songzan Gambu. According to records, Zanpu, the then King of Tushan in Tibet, sent envoys to Chang 'an to propose marriage. In 640 AD (the 14th year of Zhenguan), Li Shimin, Emperor Taizong, accepted the proposal of marriage and promised to marry Princess Wencheng to Songzan Gambu, Tushan. Songzan Gambu sent an emissary Lu Dongzan to Chang 'an to marry him. The picture shown in "Walking Map" depicts the reception of Lu Dongzan by Emperor Taizong.

On the right side of the map, Emperor Taizong sat in a chariot, with nine ladies-in-waiting, some carrying chariots, some holding fans and some holding umbrellas, each with its own posture. On the left of the painting is a student holding water. He is the ceremonial officer of the foreman in the DPRK. Then there is Lu Dongzan, a kind messenger. The last person should be a North Korean translator. Among these two groups of characters, the main ones are Emperor Taizong and Lu Dongzan. Their identities and personalities are vividly portrayed, which strongly shows the plot of the old class depicted in the works. Emperor Taizong is a famous emperor in history, and he is also a well-run politician. The author expressed it on the screen in a praising style. His calm and dignified expression showed his love and praise for the messenger.

The painter vividly portrayed the spiritual temperament of Lu Dongzan, a Tibetan messenger, through the description of clothing, manners, especially appearance and expression. Lu Dongzan's plump cheeks, high nose and black beard reflect the rugged personality characteristics of the Tibetan people. Especially the long wrinkles on his broad forehead, coupled with his simple face, show his intelligence and rich experience. His attitude is humble, he is good at awe and trustworthy in simplicity.

The expression of Bujitu is concise and clear, and all unnecessary backgrounds and props are abandoned, which makes the characters more prominent. The author makes use of the dress and appearance characteristics of the characters, so that each character's different nationalities and identities have been properly expressed, which makes people see at a glance.

In this painting, Emperor Taizong is undoubtedly the most important figure. Although he was placed on the right side of the painting, surrounded by ladies-in-waiting, it was not easy to stand out. However, the author achieved the expected effect with ingenious artistic means. In Chinese painting, in order to highlight the hero among many characters, painters often draw him slightly larger than other characters. While using the same technique, "Walking Horse Map" uses two big fans held by maids-the longest lines in the two pictures, which intersect in a herringbone shape on the top of Emperor Taizong's head, attracting people's attention to the protagonist. The strong color contrast between the stone-green fan and the scarlet umbrella enhances its artistic effect. In addition, the contrast between the striped dress of ladies-in-waiting and the large solid color of Emperor Taizong, and the contrast between the thick robe of Lu Dongzan and the other two in the dress on the left side of the picture fully embodies the author's originality.

Bujitu is a meticulous and colorful painting. He dyed his face in a rich color, and the effect was simple and clear. But the color does not cover the ink, and the expressive force of the lines is still clearly visible here. The author inherited the artistic achievements of the previous generation of outstanding painters Gu Kaizhi and Zhang Monk You. The lines are even, thin, straight and elastic.

Yan Liben (? ) The author of Bujitu? —673), a famous representative painter in the early Tang Dynasty. His father Yan Pi was a famous craftsman and engineer in Sui Dynasty, who was good at building palaces and the Great Wall. My brother Yan Lide is also a famous painter. Yan inherited his family business and tried to learn and absorb nutrition from the art of his predecessors, and made great achievements in figure painting. Historically, he was called "capable of painting and calligraphy, and the court called the painter apotheosis." Yan is an epoch-making figure who pioneered a generation of painting styles. Emperor Taizong was the minister of the Ministry of Industry at that time, and the official was right. His paintings have many major themes, including "Walking Map", "Statues of Emperors in Past Dynasties", "Statues of Tributes" and "Statues of Heroes in Lingyange". The walking map introduced here fully embodies Yan's artistic style and political accomplishment.

Map of Jiangfan Pavilion in Li Sixun in Tang Dynasty

The Sailing Pavilion was painted by Li Sixun, a painter in the Tang Dynasty, and it is a masterpiece of early green landscape painting in ancient painting.

China landscape painting developed into the Tang Dynasty, with diverse styles and many famous artists, showing a new scene of unprecedented prosperity. Under the influence of Zhan Ziqian's painting style, Li Sixun not only further developed the landscape-oriented pattern in form, but also inherited the inherent expression techniques of colored landscape painting in China since Liulang Sui, borrowed and enriched the previous small cyan coloring method, and created a "golden blue landscape" with "green as the quality and golden green as the pattern". Through Li Sixun's artistic practice, landscape painting tends to be the basis of independent painting, and has been basically stable. Li Sixun and his son's achievements in landscape painting are of far-reaching significance to the evolution of ancient landscape painting forms. As for Li Sixun's works, few people have passed them down from generation to generation. Now we can see Ming Taizu's maps of Shu Zhongfu, Castle Peak and Province, etc., although they belong to the Lee School, they are all copies of later generations. Therefore, Sailing Pavilion has become a precious work to study the style of Li Sixun's landscape painting and the characteristics of ancient China's landscape painting.

Silk version of the river sail pavilion, turquoise, with a horizontal length of 54.7 cm and a vertical length of 10l cm. In the upper part of the picture, the river is vast and the sails are countercurrent, showing a vertical realm thousands of miles away. On the lower left are Chang Song Spirituality and Bi Dianzhu Lang. Under the lush shade of bamboo forest, the mountain road twists and turns. Among the picturesque figures, they either squat on the road by car, swim leisurely, or walk slowly between pink and green with their shoulders on their backs. The ancient trees and branches all over the mountain are twisted and deformed like bent iron. Rattan twines around the branches and interweaves together, which also adds a quaint atmosphere to the artistic conception of the picture. The whole picture is mountainous, with lofty realm, novel structure and delicate brushwork. Whether it is cyan dyeing or Zhu Mo dyeing, it is unique. Especially because the painter comes from a rich family, he has deep feelings for the terraced fields, halls, trees and stone springs in the palace. In addition, he also has a superb "boundary painting" skill, good brushwork, and good at painting. Therefore, the description of landscapes, figures and buildings reflected in The Picture of a Pavilion on a Sail on the River, as well as techniques such as color dyeing and hook drum irrigation, have all reached their proper positions, and truly achieved "the strength of character is hard to sweep away", thus making the picturesque landscapes inexhaustible, interesting outside the scene and memorable. Compared with the works of our ancestors, this is naturally superior and more mature. In the Tang Dynasty, Qi Rong wrote a poem "On the Landscape of Li Sixun": "Build a hidden place to repair the land, and respect the previous poems to gather sages. When the rock is abundant, the crane hides, and the autumn sounds are heard at night. Romantic, leisurely and carefree, killing time everywhere. The characters in the Southern Tang Dynasty are still there, and the mountains and rivers are secluded. " This wonderful scenery is also faintly visible in the picture of the castle on the river. Li Sixun's landscape paintings are especially good at writing "slow, ethereal, ethereal" scenery, and they are often matched with figures put by immortals, which makes the anti-ditch more secluded, the artistic conception more beautiful and has the special charm of mountains and rivers, so it is amazing.

Li Sixun (AD 65L-7 18) was the imperial clan of the Tang Dynasty. He was not only a great painter who was famous for his art at that time, but also a general who was famous for his exploits at that time. His son Li Zhaodao worked as a Cao Cang in Taiyuan, and later became an official in Zhongshu. Although Li Zhaodao's official position is not high, he inherited his father's footprints in landscape painting, and his skills are extraordinary. What he painted was "Golden and Blue Landscape", which was more slender with color and pen. He has the reputation of "changing his father's situation and surpassing it", which deserves to be called "a wonderful hand at the moment" Because father and son are also famous for their "golden and green landscapes", people call them "General Li" and "General Xiao Li" when they talk about landscape paintings. Although Zhao Dao is not a general, he is called vulgar because of his father. Li Sixun's and his son's landscape paintings occupy an important position in the development history of China's landscape paintings. The green landscape school represented by them and the ink landscape that rose after the prosperous Tang Dynasty prepared sufficient conditions for the maturity of landscape painting in the late Tang Dynasty and the Five Dynasties. Understanding Li Sixun's creative situation and artistic achievements is of great benefit for us to appreciate the specific work "Pavilion on the River".

Born of Gautama Buddha Tang Wu Daozi

Born of Gautama Buddha, also known as the birth of Sakyamuni, depicts the scene that when Sakyamuni was born, his father Sudoku King held him to visit the gods. In the first part of the painting, the god who sent the child and the beast he rode galloped forward, and the atmosphere was tense and pleasant. The sitting heavenly king, with a natural and graceful posture, reveals the excitement of happy events, with the majesty and meditation of the king. The expressions of civil servants and concubines on both sides also revolve around this plot, showing different personalities and expressions. The story of the heavenly king calling God to send his son is vivid, not because of the rich changes in the characters' movements, but because of the different changes in the characters' psychology. All kinds of psychological changes are concentrated on everyone's expression characteristics, so this extraordinary thing will happen. These immortals described by Wu Daozi, a great painter, are particularly vivid, reaching the touching level of "stealing words" and "turning to look at people". In the second half of the painting, Sudoku King walks slowly and cautiously with his child Sakyamuni (Prince Siddhartha) in reverence. In front of King Sudoku, a monster fell to his knees and looked flustered. These scenes set off the supreme majesty of the baby. Wu Daozi's description of genie is also unusual. With the help of the vivid expression of the genie itself, he made the picture receive the effect of "beard covering clouds, feet flying, hair roots and flesh, and endless strength" In a word, Wu Daozi's vivid description of characters has reached a level that painters can't reach before.

Born of Gautama Buddha embodies the typical expression of Wu Daozi. Before Wu Daozi, the lines used to express the costumes and props of the characters were basically the so-called "four wonders" and "iron line drawing" in the eighteen sketches. On the basis of Zhang Sengyou's "Zhang's Family Style" and Cao's "Cao Shi Family Style", he created the so-called "Ying Lai Tiao" with round lines, loose clothes and obvious nepotism. In Wu Daozi's works, lines have become a lively, independent and free form of friendship. He believes that in painting creation, the speed, pressure and rhythm of lines are organically carried out, which is the main key to convey content and feelings, while color should be subordinate to lines, even without color, and a painting can only be made independently with ink lines, that is, "line drawing" or line drawing. Therefore, Wu Dao: The murals painted by Yan are not as gorgeous as the general works at that time, but look simple and light in the lottery, which is called "Wu Jiafeng" in history. Born of Gautama Buddha is such a painting. Wu Daozi vividly shows an important theme in Buddhist stories with changeable lines drifting with the wind.