2015年文人画价值

TheValueofLiterati-painting

Asso.Prof.Hu,Wei23.11.2015WeiXie(activelate3rd–early4thcentury)“WithXiethesketchinessoftheancientpaintersbegantoberefined.HewasalmostequallyexcellentinallSixElements(orLaws)…”----XieHe“GuhuaPinlu”(ClassificationofPainters)GuKaizhi(348-409),

“NymphofLuoRiver”(Imitatedin12th-13thcentury),27.1cmx572.8cm,

PalaceMuseum,Beijing“OdetoTheNymphoftheLuoRiver”

Herbodysoarslightlylikeastartledswan,翩若惊鸿,

Gracefully,likeadragoninflight,婉若游龙;

Insplendorbrighterthantheautumnchrysanthemum,荣曜秋菊,

Inbloommoreflourishingthanthepineinspring;华茂春松

Slimasthemoonmantledinfilmyclouds,髣髴兮若轻云之蔽月

Restlessassnowwhirledbythedrivingwind飘飖兮若流风之回雪Gazinguponherfromadistance;远而望之，

Brightasthesun皎若太阳升朝霞

Overrosymorningclouds.

Stepnearer,lookmoreclosely,迫而察之

Sheshimmerslikealotus

Abovethewaves.灼若芙蓉出渌波

Neitherthick-setnorfrail,秾纤得中，

Neithertallnorshort修短合度

Hershouldersseemscripted肩若削成

HerwaistnarrowAsifbound.腰如约素

Thegracefulcurveofherlongneck延颈秀项

Revealsthewhitefleshofherthroat.皓质呈露

Thereisnoneedforperfumehere,芳泽无加

Noneedforleadenpowder.铅华弗御

byCaoZhi(192-232),sonoftheWei(220-265)EmperorCaoCao.(Infigurepainting)thebeautyofappearanceisoriginallynotkeypoint.Onlytheeyepupilsarethekeypointtoexpressone’sspirit.---GuKaizhi,recordedinLiuYiqing(403-444)“ShishuoXinyu”GuKaizhi(348-409),detailof“NymphofLuoRiver”(Imitatedin12th-13thcentury),27.1cmx572.8cm,PalaceMuseum,BeijingGazinguponherfromadistance;远而望之，Herbodysoarslightlylikeastartledswan,翩若惊鸿,

Gracefully,likeadragoninflight,婉若游龙;

Stepnearer,lookmoreclosely,迫而察之

SheshimmerslikealotusSlimasthemoonmantledinfilmyclouds,髣髴兮若轻云之蔽月

Restlessassnowwhirledbythedrivingwind飘飖兮若流风之回雪SceneoffarewellSceneofleavingreluctantlyZhangYanyuan（815-907）“LiDaiMingHuaJi”,“OnthebrushworkbyGu,Lu,Zhang,andWu”

Gu

Kaizhi(348-409)LuTanwei（？－485）ZhangSengyou（activein6thcentury）WuDaozi(680-760)EasternJin317-420KingdomSong420-479KingdomLiang502-557Tang618-907Hisbrushstrokesarestronginfirmnessanduninterruptedincontinuity,circlingbackuponthemselvesinabruptrushes.…Hisconceptionwasformulatedbeforehisbrush,sothatwhenthepaintingwasfinishedtheconceptionwaspresent.ZhangZhi(activemid-2ndcentury)studiedthecursivescriptmethodsofCuiYuanandDuCao.Hecompletedinonestrokewithaveinofnervousenergyrunningcontinuouslythroughit.OnlyWangXianzhiunderstoodtheseprofoundobjectives,hencethecharacteratthetopofalineisoccasionallyconnectedwithprecedingcolumn.Thisisknownas“onestrokecalligraphy”.Lumadeone-stroke-paintingwithoutbreaks.Madehisdots,draggedstrokes,hackingstrokes,andsweepingstrokesinaccordancewithLadyWei’s“BattleStrategyoftheBrush”(essayonuseofbrushincalligraphy).HelearnthisbrushmethodsfromZhangXu.(acalligrapher,activefirsthalfof8thcentury,wascall“MadmanofCalligraphy”.)Theirbrushworkismeticulouslyandprofoundlyexactanddetailed.Theirbrushworkismeticulouslyandprofoundlyexactanddetailed.Withjustoneortwostrokes,theimageisalreadyreflected.Withjustoneortwostrokes,theimageisalreadyreflected.StandingBuddha5thcentury，GuptaEmpireJamalpur，Mathura,India“CaoZhongdaoftheNorthernQiwasbyoriginanativeoftherealmofCao,whowashighlyesteemedforhisskillinpaintingIndiaicons…WhileWuDaoziofTangisknownasWu.Wu’sbrushworkhadanappearanceofroundedcurves,andhisrobesbillowedupward;Cao’sbrushworkwasinastyleofclosesetparallels,andhisrobesclungtightly.ItwasforthisreasonthatlatermenheldthatWu’sgirdleswerewind-tossed,whileCao’sgarmentshadjustcomeoutofwater”--GuoRuoxu(c.1080)“TuhuaJianwenZhi”,“OntheStylesandMethodsofCaoandWu”GuKaizhi(348-409),“CourtLadies’Motto”(imitatedin8th-9thcentury),sceneofnotbeindulgeinsomeconsorts,stopkeptinBritishMuseum，GuKaizhi(348-409),“CourtLadies’Motto”(imitatedin8th-9thcentury),sceneoflongdistancebetweentheheartsofthecoupleZhangXu(c.658-c.747,activein8thcentury),“FourAncientPeoms”details.Hewasknownforhiscursivescript,wasnicknamed“CrazyZhang”.WuDaozi’s(680-760)follower,detailsof“BringingtheBabybySuddhodana”,in10thcentury.OsakaMuseum,Japan苏州瑞光寺塔出土北宋木函彩画局部SevensagesofthebamboogroveandRongQi,

Rubbingofastampedbrick,SouthernDynasties,5th-6thcentury,NanjingSevensagesofthebamboogroveandRongQi,

Rubbingofastampedbrick,SouthernDynasties,5th-6thcentury,NanjingSarcophagusPanel,

NorthernQiDynasty(550-577),Qingzhou,ShandongprovinceLiZhaodao(675－758)detailof“EmperorMingofTangwenttovisitSichuan”

NationalPalaceMuseum,Taipei

12th-centuryByzantinemosaicist,“ChristPantocrator”,detailLate10th-centuryByzantinemosaicist,“Crucitixion”,detail

12th-century,mosaicist,“TheLastJudgment”,detail,churchofSantaFosca,TorcelloXuXi(late10thcentury)“BamboosinSnow”,151.1x99.2cm,inkonsilkShanghaiMuseumXuXi(late10thcentury)

“BamboosinSnow”DifferentArtisticStylesofXuandHuang

HuangQuan（903－965）“PreciousBirdsbyPaintingfromNature”,coloronsilk,PalaceMuseum,BeijingHuangQuan（903－965）“PreciousBirdsbyPaintingfromNature”,coloronsilk,PalaceMuseum,BeijingHuangQuan（903－965）“PreciousBirdsbyPaintingfromNature”,coloronsilk,PalaceMuseum,Beijing

“XuXipaintedwithanink-filledbrushinaverysummarywayandappliedonlyalittlecinnabarandwhite.Adivinevitalityissuedforth(inhiswork),whichalsohadthequalityoflife-movement.”

--ShenKuo(1031-1095),“MengxiBitan”(CasualWritingsfromtheGardenoftheStreamofDream),Book17,“CalligraphyandPainting”.

“…Inal