Why did the paintings in the Song Dynasty show the phenomenon of poor money and hidden money?

The phenomenon of poor money and hidden money is very common in Song painting, which exists in landscapes, figures and flowers and birds. Song painters basically have no habit of stamping. For example, The Journey to the West of Fan Kuan in the Northern Song Dynasty placed the symbol "Fan Kuan" under the dense leaves in the lower right corner of the picture; Guo's "Early Spring Map" is titled "Early Spring, the Pen of Xibi" on the left side of the bush; Li Cheng's "Reading Monuments and Standing Stones" contains "Li Cheng painted trees and stones, and Wang Xiao filled in words" on the side of the residual monument in the painting; Li Tang's Map of Wanhe and Song Feng hides the words "Huang Songxuan He Chen Jiachun, Yang He Tang Libi" in the distant peaks; In "Picking the Flowers of Wei", there is money hidden on the stone wall, "He Yang painted Boyi, Shu Qi"; Cui Bai's "Double Happiness at the Gate" hides a "Cui Bai Pen in the Year of Jia You Xin Chou" in the trunk; In addition, there are Liang Kai's Six Ancestors Chopping Bamboo, Lin Chun's Plum Bamboo and Cold Birds, Marin's Lan Tu Outline, Ma Yuan's Waterfall View, Xia Xuan's Twelve Scenes and so on. Some scholars think that this is the result of the poor calligraphy of Song painters, so they avoid talking about it. For example, Du Qian said in the Book of the Pine Pot: "The Tang people only hid the fine print of the root stone. If you don't work hard, you will fall behind. There are records in the Song Dynasty, but it is a fine line and there is no book. " Although Du Qian is talking about the Tang people, it basically covers the paintings of the Song people, because it is common that the inscriptions in the paintings of the Song people are hidden in roots and stone tablets. Shen Hao also said in "Painting Inscription": "Before Yuan Dynasty, there was no need for money, and money was hidden in the crevice of the stone, for fear that the book was not refined and hurt the painting bureau. Later, calligraphy and painting merged into one and attached to the view. " [2] Indeed, the calligraphy level of the Song Dynasty painters' inscribed poems is really low, which is far behind the calligraphy of great calligraphers such as Su, Huang, Mi and Cai or painters of Ming and Qing Dynasties. However, there is a problem neglected here. Even the paintings of great calligraphers such as Su Shi and Mi Fei have no large-scale inscriptions or poems, and they are not or rarely mentioned in the descriptions of past dynasties. On the contrary, the works of Song Huizong Evonne, the leader of the college painter, are a combination of poetry and painting. Many paintings, such as Lotus Golden Rooster, Ruihe, Xianglong Stone, Mera Mountain Birds and Five-color Parrots, show that the titles and pictures complement each other. It was Gao Bing in the Qing Dynasty who said, "The ancients wrote between the back of the shelf and the trees and stones, and there were many reasons for writing in the paintings on the edge of the cover, which were suddenly seen in recent times." The author thinks that the poor calligraphy of Song painters is only a superficial phenomenon, not the reason, not the main reason. The decisive factors are as follows: First, the aesthetic realm of "truth" and "learning from others" pursued by Song paintings. There is an important proposition in the philosophy system of Song Dynasty-"Reason". Cheng believes that "the case is still poor and things are still reasonable. Poverty is unreasonable. " Poverty is enough to know. If you are not poor, you can't know. "Wu Ge is for the sake of poverty. The so-called" case "means" doing whatever you want must be the principle of doing everything "."Things "include all natural social phenomena and even behavioral ethics." "Knowledge" refers to the deduction of self-inherent knowledge, and "extreme knowledge" achieves "omniscience" and "enlightenment". The so-called "reason" of Cheng Hao and Cheng Yi, the famous neo-Confucianists, mainly refers to the meaning of dharma, and "reason" is the foundation of all things in the universe. Later Dali scholar Zhu enriched Cheng Cheng's theory. Zhu's Notes on Four Books and University Chapters said: "The so-called knowledge lies in things; If you want to tell me what you know, you will feel poor about what you have. The soul that covers people's hearts is knowledge; And everything in the world is unreasonable; Only reason is infinite; Therefore, his knowledge is endless. " "The heart of the Tao is natural, so it is implicit, but it is refined. The only way to keep it is perseverance. "Neo-Confucianism attributes the changes of the universe, heaven and earth, and everything to" reason ",which belongs to its own attribute in natural creation. The principle of vegetation, flowers and fruits is manifested in the old tender and withered, yin and yang back, opposites alternate, leaf-shaped veins, woody herbs and so on. The principle of birds and beasts is manifested in the birds shrinking their feet and stretching their necks, making horses bend their feet and so on. Although the original intention of Neo-Confucianism in Song Dynasty was not to serve the painting art, on the basis that imperial academy's paintings dominated the whole country in Song Dynasty, painting directly accepted Neo-Confucianism and formed an aesthetic trend of thought, that is, let nature take its course. Zheng Wuchang, an art historian, once briefly described the painting in the Song Dynasty in The Whole History of Painting in China: "Song people draw well, but the word" reason "is the most important. This is the secret of learning. "Song people often start from" reason "in painting, and the painting theory is also based on reason, so we should follow reason to seek spiritual interest. The pursuit of "reason" is manifested in the art of painting, attaching importance to realism and style, especially college painting. Through the accurate and realistic description of things, the "reason" between heaven and earth is expressed. The "principle" here refers to physics and physical properties. It is because of "poverty" and "style" that China's paintings reached the peak of realism in the Song Dynasty. Han Qi's Yang Anji Yuan Chao Jian Xin says: "The art of viewing painting is only realistic. People who get the truth are absolutely perfect, and people who get more are on it, or they are not true. Song Dynasty painting with superb, skilled realistic skills, melt "realm without me", fully embodies the aesthetic characteristics of China traditional painting realistic art.. As Lang, a famous art historian, said, "Song Dynasty art reached the peak of China's classical realism in its realistic skills ... It is undoubtedly first-class in terms of the level and achievements of contemporary classical realism art in the East and the West, and it is not an exaggeration to say that it occupies the highest position of contemporary human painting art." But the realism of Song Dynasty painting is not a completely naturalistic mechanical description, it integrates self and things, and on the basis of accurately and objectively describing things, it also integrates the feelings and feelings of painters. This process of pursuing the truth of nature is different from the goal of "conquering nature" in western painting. It is by no means like a mirror to transfer and restore the natural image; On the contrary, this process of approaching nature is full of awe-inspiring observation, meditation and understanding of nature. "Er Cheng said," When things are poor, you don't have to exhaust everything in the world, you can exhaust one thing, and others can be analogized. "This method of caring for things has changed the observation method of objects in painting art creation, and detailed observation methods of flowers, birds, insects and fish have appeared. For example, Guo's "Illustration and Experience" said: "Those who draw feathers must know the name of the bird, from the mouth, beak, mouth, face, eyes, jungle, brain hair, withered hair, sharp wings, clam wings, big knots, large and small nests, second only to six tips, wind, grass grazing, tail scattering and crushing. Guo made a profound description of the natural landscape in Lin Zhi, which said: "The misty clouds of a real mountain are different in four seasons. The spring mountain is like a smile, the summer mountain is green and dripping, the autumn mountain is bright and clean as makeup, and the winter mountain is bleak as sleep. " "The mountain looks so close, looks so far, and looks so far for dozens of miles. Every distance is different, so-called Yamagata step by step. The front, the side and the back of the mountain are like this. You can look left and right every time you look at it. ..... Mountain spring, summer, autumn and winter, the so-called four seasons are different. This is true when you look at the mountains, at dusk, and in rain or shine. The so-called pervert is different in the morning and evening. This is the intention of owning dozens of mountains at the same time, but can it be ignored? "This artistic pursuit of seeking truth and helping the poor made many painters in the Song Dynasty extend from observing the changes of things to the level of artistic creation methods, and then developed various methods of painting techniques. This aesthetic trend of thought and pursuit had a great influence on the painting techniques of landscape painters in Song Dynasty, which made them create different rubbing techniques according to the actual situation and landforms. Dong Yuan wrote a song "Pima Bar" which is suitable for expressing the soft soil in the south of the Yangtze River. Li Cheng founded the "grimace group" according to the characteristics of Qilu Mountain. Fan Kuan founded the "nail head, raindrop mound", depicting the face of Guanshan boulder with straight pen and short line. There is also Guo's cirrus method; Li Tang's axe chopping method; Mifei's eggplant dripping method is very rich. No matter how profound the aesthetic connotation given to these "paintings" by literati painters in the Ming and Qing Dynasties, in the Song Dynasty, these paintings were created to seek truth and help the poor through the true and objective description of natural images, which is an objective reflection of the painter's true feelings about different regional features, landscapes, flowers and trees. In addition, there are many allusions in the Song Dynasty's painting theory and note novels, which show that Song Dynasty's paintings admire and pursue the concepts of truth, clarity, physics and materiality. Guo said in "Illustrated Notes": "Horses have the taste of fighting buffaloes, and the clouds are sharp and true, so I love them very much. One day, the double doors of the study room were exposed to the exhibition. Some tenants were standing under the masonry, playing for a long time and then stealing. When the public saw Qing Suo, he said,' I have Tibetan paintings, and the farmers are happy with it? If you have something to say, you will feel guilty if you have nothing to say. "Zhuang Bin said,' People who don't understand painting know the real cow. Its fighting is also sandwiched between moustaches. Although powerful, it is indispensable. The oxtail of this painting is convex, laugh at its distortion. ""Su Shi's "Yellow Painting Birds" said: "Yellow painting birds shows the neck and feet. Or, saying,' when a bird shrinks its neck, it spreads its foot, and when it shrinks its foot, it spreads its neck, and there is no second exhibition.' The test is true. A person who knows how to look at things without judging them. A painter can't do it, but what is bigger? A gentleman is curious because he studies business. "Shen Kuo's" Meng Qian's pen talks about peony bushes "said:" Ouyang Gong tasted ancient paintings, and there was a cat under the peony bushes, whose essence was unknown. Cheng Xiang is visiting Wu Gong and Ou Gong's in-laws. When he saw it, he said, So is the peony at noon. Why is it clear? Its colorful and withered flowers are also a flower in this day. The cat's eye is black in a line, so is the cat's eye at noon. If there are exposed flowers, the room will be collected and colored. The cat's eye is round in the morning and evening, and it is getting longer and longer. At noon, it is like a line. "This is also written by the ancients." Deng Chun's "Painting Collection": "The Academy of Painting is the best, and it devotes itself to new ideas. It's cute to have a taste of the shaft. Draw a resplendent hall corridor, with Zhu's door half open, a maid-in-waiting half exposed in the open air, and a dustpan filled with peels. For example, duck feet, lychees, walnuts, torreya grandis, chestnuts, hazelnuts and scorpions are all identifiable and have nothing to do with each other. Pen and ink are implicit, and there is such a thing! " There are also many allusions, such as "Peacocks rise to the east, and they must rise to the left first", "China and Japan rose without a trace" and "there is something in their pupils", and such records abound. In a word, the painting in Song Dynasty actively pursued the so-called painting realm of "learning from things", "seeking truth" and "conveying the spirit with things". Even though Su Shi, a pioneer of literati painter, said that "paintings are similar to those of children's neighbors", he also highly praised the effect of "taking photos of Yi Deng" when actually evaluating paintings. Therefore, the painter will not write a lot of poems and inscriptions in the picture to destroy the true natural realm of "promising", "feasible", "livable" and "swimable". If they want to write inscriptions, they will only be poor, with only a simple calendar and painter's knowledge, and even no calendar. Moreover, it is difficult for the audience to find old branches and withered stems, overgrown weeds, dense leaves and so on. Secondly, the development of inscription art in painting is limited by its self-discipline. With the development of literati painting, the inscription art of Chinese painting didn't really mature until the Ming and Qing Dynasties, and poetry and calligraphy were printed on the screen to achieve a harmonious and unified expression. If we want to divide the period of Chinese painting inscription and postscript art, the Tang and Song Dynasties are only in the initial stage, the Yuan Dynasty is in the development stage, and the Ming and Qing Dynasties are mature. Before the Yuan Dynasty, there were few words about how to inscribe and the role of inscriptions in pictures, but in the Ming and Qing Dynasties, they gradually increased. For example, in the Qing Dynasty, Kong's "Painting Tactics" said: "Inscription painting has its place, and it is not allowed to cover up the painting. There are mountains on the left, the right should be empty, and the paragraph is on the right. The same is true for the right side, and it is not allowed to invade the painting position. " In Qing Dynasty, Gao Bing summed up an inscription experience in finger painting: "Ni Yu (Zan), Wen () and Dong () wrote hundreds of words themselves, all because of the status of the inscription before painting." Zou Yigui's "Mountain Painting Spectrum" pointed out: "Painting has a certain inscription, and if it is lost, it will hurt the painting bureau. Whether there is a question or no question, the number of rows is long or short, double or single, horizontal or straight, the top should be flat and the head may be uneven. The so-called head is not. " This also shows the development and maturity of the theory of inscription art. Looking at the inscription itself, the paintings in the Song Dynasty were basically poor, secretive and broke, except for the works of Evonne, a high-powered and well-fed imperial painter. However, paintings in the Yuan Dynasty fully demonstrated the development of the art of inscription and postscript, including the inscriptions and postscript of large calligraphy poems such as Wang Mian, Zhenwu, Qian Xuan and others, as well as poor works with only the names of painters such as Zhao Mengfu, Huang, Ke and others. As for the paintings of Ming and Qing painters, there are basically poems, books, paintings and seals. They attach great importance to this comprehensive ability, and they regard inscriptions as an indispensable part of the picture. For example, "On Painting in the Seconds of the Mountain" also said: "The painting began in Su and Mi, and was prepared by people in Yuan and Ming Dynasties. Therefore, the title of the painting is wonderful with the inscription, location, scenery and painting. If you don't call the title, a good painting will be discounted, which will also lead to management after painting. " Shen Hao said in Painting and Ming: "If there is a sky in the painting, the money will be spent, and the loss will hurt the painting bureau." Due to the highly developed literati painting in Ming and Qing Dynasties, painters need to have certain attainments in calligraphy, poetry, painting and seal cutting. , can put pen to paper to paint, which is why Ming and Qing theorists say that the paintings of the Song Dynasty have no money and hide money because of poor calligraphy. In short, the development of inscription art and literati painting is unified, which is a manifestation of literati painting. In the Song Dynasty, it was only in a low-level embryonic stage, which only played the role of dating and leaving a name. It was a dispensable thing with pictures (it seems that only Guo's "Early Spring Map" in the Song Dynasty had the author's seal). Therefore, painters don't have to and won't pursue the vigorous and powerful calligraphy, the meaningful poetry, the vermilion visual effect of printing, and the aesthetic effect of combining poetry, calligraphy and printing. This also depends on their pursuit of aesthetic realm and understanding of painting and the limitations of the art of inscription and postscript in Song Dynasty. Third, the limitations of the status, aesthetics and personality of painters in Song Dynasty. Most of the Song Dynasty painters recorded in the art history were institutional painters, who directly served the emperor and the court. The so-called "companions are like tigers." If you are not careful, you will lose your job and your life. They will inevitably walk on thin ice. Low-key entertainment is the basic method of self-preservation, and it will certainly not be as wild, aloof and personalized as the literati and painters show through large-scale poems and songs in their works. We can also get inspiration from the great painter and Prime Minister Yan. In Zhang Yanyuan's Notes on Famous Paintings of Past Dynasties, he wrote: "Emperor Taizong and his courtiers visited the Spring Garden. There were strange birds in the pool and they loved to play in the water. They called courtiers to sing, and they asked people to take a book to write about them. In the pavilion, they called the painter strict. At the time of the founding of the People's Republic of China, he was already Dr. Zhong Jue, running around sweating, crawling by the pool, waving the sultan in his hand, looking forward to sitting in the guest room. His son withdrew from the story and said,' I don't like reading. Now all I know is to be with Dan Qing and bow down to serve the workers. It's a great shame. I should take a deep warning and not learn this art.' "Tea Li Ben was an engineer in the Tang Dynasty, good at painting and quite talented politically. At that time, he was the doctor of Zhenguan of Emperor Taizong and assistant minister of punishments. When Emperor Gaozong moved, he was promoted to Minister of Industry. In the first year of the general chapter, he was promoted to the right and was the duke of Boling County. Even so, as a right-hander, he didn't dare to expect anything before the emperor, and only advised his children and grandchildren not to learn. It is conceivable that the ordinary academy painters in the Song Dynasty were silent and cautious when serving the emperor, and the possibility of expressing themselves, exerting their power at will and writing poems in the works created by the academy simply did not exist. There is a record in Deng Chun's "Painting Collection": "In the painting academy, there are many candidates who came from all directions, and many of them left without permission. Cover it for a while, aiming at shaping it. If you are complacent, you can't help but let it go, indicating that it is not in line with the law, or you can't be too high. " Among them, the words "out of harmony", "out of line" and "similar in appearance" also imply that the painters in the Academy of Painting are slightly different from the emperor, that is, the fact that they play, which basically summarizes the emperor's preferences, that is, "specialized in similarity" and "respecting truth". In this case, it is impossible and dare not write poems on a large scale on the screen, express themselves and express their feelings, and can only be "incognito" as much as possible to express their feelings. Conclusion: The acceptance of painting in Song Dynasty had a great influence. The "truth" of painting in Song Dynasty accords with the objective laws of natural things and social laws. Painting expresses the true shape, the true spirit and the true state of the object, and the "truth" is often used to achieve "truth" in painting theory and painting theory in Song Dynasty. The aesthetic ideal of the Song people is not the illusory fairy mountain pavilion, but the mountains and valleys, streams and springs seen in front of them. Therefore, in painting, we should try our best to avoid ourselves and blend in with nature, and then pursue the true natural realm of "truth", "knowing things" and the unity of things and me. In addition, the academy painters are humble before the emperor, have no self, and dare not publicize themselves; Moreover, literati painting has not yet reached a high degree of maturity, and the art of inscription attached to it is also in the primary stage. Based on various reasons, the phenomenon of poor money and hidden money, which is common in painting in Song Dynasty, was finally formed. As for the phenomenon that the calligraphy art of inscription and postscript in the works of Song painters is poor, the author thinks it is not impossible, but not to pursue the combination of painting and calligraphy on the screen. Just as the literati painters in Ming and Qing dynasties tried their best to pursue the aesthetic value of pen and ink independence, they did not pay attention to natural images and nature, and issued the call of "painting mountains and water, not painting the end".