Brief introduction of Lin's works

An important monograph on landscape painting in the Northern Song Dynasty. Author Guo, whose name is Chunfu, was born in wen county, Heyang (now wen county, Henan) and is a famous painter. Six articles of Lin Zhi were compiled by Guo Si according to his father Guo's creative experience and artistic opinions.

The ancient book versions of Lin Zhi include the manuscripts of Ming Dynasty collected by Beijing Library, the library version of Si Ku Quan Shu and the library version.

Of the six existing articles, "Preface" and "Illustration" were written by Guo Si, and the other four were written by Guo, recorded before his death and compiled by Guo Si. According to the preface, Guo Si often swam around the spring stone with his father when he was a child. Guo "Every time he puts pen to paper, he will say,' Draw mountains and rivers well and don't be careless.' After thinking about it, I took notes immediately. Today, I compiled a collection, almost hundreds. I dare not lose them, so I take them as a hobby. "

"Sketch of Landscape Painting" focuses on Guo's landscape painting creation experience and ideas. He believes that people who want to be "honest and clean" do not necessarily want to live in seclusion and return to nature. With the help of good landscape paintings, they can sit in poverty and not go to school. This is the development of the painting aesthetic thought of "recumbent swimming" and "leisure" put forward by predecessors. It also tells how landscape painters observe nature, learn materials, inherit traditions and express themselves. This is the essence of this book. The section of "painting meaning" mainly emphasizes that painters should pay attention to the cultivation of artistic temperament and the improvement of literary accomplishment. They think that poetry is an invisible painting, while painting is a tangible poem. Poetry can help painters expand their thinking and enrich their imagination. The section "Painting Tactics" talks about the basic laws of different scenery, such as picture layout, image shaping, pen and ink skills, and the expression of weather changes in the four seasons. The picture album is Guo Si's account of some of his father's landscape paintings. The section "Painting Title" discusses the function of ancient painting and thinks that painters should make a difference.

Lin's "Gao Quanzhi" covers a wide range, and has a good exposition of all aspects of landscape painting, from its origin and function to conception, composition, image shaping, pen and ink application, observation methods and so on. Many places have never been done before. As far as the creative experience of landscape painting is concerned, the following points are emphasized:

(1) The painter should observe life deeply and grasp the main features. "Only when you look far can you get its motivation, and only when you look close can you get its quality." Guo made careful observation and research on the changes of four seasons and rain and snow in landscape painting, and summed up many regular experiences, such as the proposal of "three distances" and the characteristics of landscape painting in the state of "three distances", which has important practical significance for landscape painting creation. "The mountain is three miles away. Climbing up the mountain from the foot of the mountain is sublime, peeking at the mountain from the front is far-reaching, and seeing the mountain from near is far-reaching. The lofty color is bright, the far-reaching color is heavy, and the flat color is bright. " "The color of water is Chun Lv, Bi Xia, green in autumn and black in winter. The sky is spring (bright), summer (light cyan or grass color), autumn is clean and winter is dark (dark black). " "The real cloud of mountains and rivers is different at four o'clock, with pleasant spring, gloomy summer, thin autumn and dark winter." Wait, wait, wait

(2) Grasping the poetic plot and brewing ideas. "The smoke in the real landscape is different at four o'clock. Spring Mountain smiles bleak, Summer Mountain is green and clear, Autumn Mountain is bright and clean, and Winter Mountain sleeps bleak. " "Spring mountain is full of smoke and clouds, and people are happy; Xiashan jiamuyin, people are honest; Akiyama Ming Che, people are sad; In winter, the mountains are foggy and congested, and people are very lonely. It's interesting to look at this picture. If it is really in this mountain, then the painting has a meaning beyond the scenery. I think of walking when I see Yanbai Road, looking when I see Pingchuan, living when I see Shanshi Mountain Spring, and traveling. It's exciting to see this painting. If it is true, this painting is unexpected and wonderful. " Observing nature with the poet's heart, finding the poetic plot in nature, and then giving it poetic expression, the picture is bound to be full of poetic connotation.

(3) When creating, the spirit is highly concentrated and revised repeatedly. Guo Si recalled Guo's mental state when he was creating: "Do it on impulse and forget everything." "Put pen to paper every day, there will be a window bright and clean, burn incense, brush Mo Miao, wash your hands and wash the inkstone, see the guests, and then do it. If you dare not treat your heart lightly. Have camp, and withdraw it; It has been increased and moistened; One can do it, then; You can do it again, then you can do it again. Every picture will be repeated, always like martial law against the enemy, and then finish this. What are the so-called people who dare not slow down? " This serious creative attitude is still worth promoting.

(4) Teachers should learn from others, not just one person. "Specialized learning has been a disease since ancient times." "People learn painting, just like learning books. Take today's bell, king, danger and willow for example, it has been like this for a long time. As for adult tuas, if they don't belong to one family, they will be eclectic, discuss and test extensively, so that I can become my own family and then get it. " "Today Qilu people only take Yingqiu (Li Cheng), and Guanshan people only copy Fan Kuan. Your own knowledge, especially copying. Qilu Guanshan has a territory of thousands of miles, and everyone has a share. Professional learning has been a disease since ancient times, called sameness. Those who refuse to listen should not feel guilty for not listening. People's eyes and ears, like the new and hate the old, the sympathy of the world is also. So it is an adult, and it is really not a family. "

(5) Skills should be used flexibly according to needs. "Pen and ink should be used by people, not by pen and ink." "Or:' What is ink?' A: "Jiao Mo, Su Mo, Huimo, Mohan, and so on. Stone, tile, basin and urn are used for inkstone, and fine ink is used for ink, instead of Dongchuan and Xishan. This pen is sharp and round, thick and thin, like a needle and a brush. Sometimes light ink is used to transport ink, sometimes thick ink, sometimes Jiao Mo, sometimes Su Mo, sometimes returning ink, sometimes kitchen ink and sometimes mixed ink. The light ink of June 7th is deep, moist and not boring. With thick ink Jiao Mo, you want to take its limit. If it is not thick and burnt, you don't know the corner of the scattered kerb. After Qing dynasty, it overlaps with blue ink, and the ink color is distinct, which often appears in fog. " "

Guo also specifically discussed how to use ink color: "Light ink overlapping and spinning is called swimming light;" Pick up (gently) with a sharp pen and call it rubbing; Repeatedly spraying ink and washing with water is called an exit; Rolling with ink and water (giving or spreading) is called a brush; Pointing at it with a straight pen is called "dragging with a pen"; When writing is special, it is called "pulling or lifting"; Write this down with a pen tip. Points apply to characters as well as leaves. The so-called painting is taken away with a pen and applied to buildings and houses, as well as pine needles. Snow is stained with light ink, but the color of the ink is different. When dyed with smoke, it is lingering in its true color, marked with fresh water, and no ink is seen. Wind color comes from loess or ink, and stone color comes from indigo naturalis and ink. Waterfalls are made of natural colors, but Jiao Mo is beside them. "

China ancient landscape painting developed to the mid-Northern Song Dynasty, and great changes have taken place. The outstanding point is that most landscape painters no longer live in seclusion, and no longer emphasize that landscape painting must show seclusion. Guo, as a royal painter, complied with the development trend of landscape painting, and summarized his creative practice and theory in time. Because Guo's landscape painting emphasizes poetic expression, he is expected to swim and live, which makes landscape painting enter a new realm. In terms of pen and ink techniques, Guo's contribution is more prominent. The method of ink accumulation and brush strokes in Chinese painting is actually complete in Guo's place, and the completeness of ink accumulation greatly improves the expressive force of ink painting. The so-called ink accumulation method is to superimpose light ink for many times to make the picture deep and thick, wake up the blurred part and the part that should be layered with dry and thick ink, and then render it with light ink after waking up to achieve a deep and distinct realm. In addition, Guo systematically summarized the brushwork for the first time. All these have had a positive impact on the development of landscape painting. Yuan Haowen asked, "After landscape painters Li Cheng and Fan Kuan, Guo was a masterpiece." This evaluation is appropriate.