According to historical records, "Lv Ji in Lin Liang is unparalleled in the world". He was recommended to the court for his good painting and was appointed by the Ministry of Industry. Later, he was appointed as the commander and guard of the Royal Guards, and he was innocent of benevolence and wisdom. Paintings are mostly based on magnificent or natural images, with concise and accurate brushwork, freehand brushwork and similar shape.
Lin Liang is a representative figure of courtyard flower-and-bird painting in Ming Dynasty, and also a pioneer of freehand brushwork in ink painting in Ming Dynasty. He is unique in the Ming Dynasty's college paintings and has a great influence on later painting circles, including court painters, professional painters and literati painters.
Basic Introduction Chinese Name: Lin Liang Alias: Zishan Nationality: China Ming Dynasty Date of Birth: 1436 Date of Death: 1487 Occupation: Main achievements of the painter: representative works of the pioneers of the Ming Dynasty ink painting school: birds flock to the phoenix, birds gather in shrubs, birds gather in two eagles, pine cranes, life, contribution, artistic style, novel materials and outstanding meaning. His ink paintings of flowers, birds, trees and stones inherited the melancholy, simplicity, pungent, cursive and flexible ink color of the Southern Song Dynasty school of institutional painting. He is a representative writer of courtyard-style flower-and-bird painting in Ming Dynasty, and the pioneer of ink-and-wash freehand painting school in Ming Dynasty. The works handed down from generation to generation include Birds Collected in the Shrubbery, Camellia with White Feather, Two Eagles and so on. In the early days, Liang Lin painted colorful flowers, fruits and feathers with exquisite brushwork. After studying the Southern Song Dynasty, he became a freehand brushwork in ink painting with outstanding achievements. In terms of expression, bold brushwork is not only quick but also heavy and steady; Between ups and downs, pay attention to rules and regulations. Later generations evaluated his painting style as vigorous with a pen, such as cursive script. His ink-and-wash flower-and-bird paintings are freehand, unique in the court painting style of chasing courtyards in the Southern Song Dynasty, and therefore highly valued by people at that time, which had a great influence on the flower-and-bird painting style in the middle of the Ming Dynasty. Lin Liang, born about 1428 (the third year of Xuande), was born in Nanhai (now Guangdong) and died before 1494 (the seventh year of Hongzhi) at the age of over 60. Moreover, according to the calculation of Lin Liang before he entered the palace 1464 (Tianshun eight years), Lin Liang was already in his thirties and his painting skills were mature. "Beginning, master YanZongShan landscape, magistrate He Yinshan characters, all Mr Township also. If you learn well, you are afraid of sects alone, saying: the fun of hot days is beyond reach. The evening is a simple sketch, but it is not as good as the work of feathering flowers and plants. Later, I visited the Ministry of Industry. I was blocked by the huge difference and went straight to Renzhi Hall to join the Royal Guards. Being good at teasing and chanting has been stained with the cream of the literati, which is quite impressive at the beginning of the poem. Imperial envoys are agile in the number of classics, playing and singing with them every day, or turning into hundreds of poems in an instant. Because they are brothers, the good reason is good name. " These two can be said to be Lin Liang's early teachers. "Although he was later famous for flowers and birds, the landscape figures were unknown, but he undoubtedly benefited from modeling and pen and ink, thus laying a solid foundation." "Camellia and White Clouds" (collected by Shanghai Museum) was dedicated to Renzhi Hall in the Forbidden City from Yongle to Chenghua (1403- 1487). Lin Liangzhi's position in Renzhi Hall is not high, and he is among the painters. After the town of Wei Jinyi was changed, it was considered that there was a higher official position from Liu Pin. He was awarded Wu Zhi, and his rank was generally higher than that of a civilian. Because the Royal Guards were given fickle jobs and there were no fixed places, many court painters favored by the emperor were awarded the Royal Guards Wu Zhi. But they just get paid, don't perform their duties and have no real power. "Since Lin Liang was appointed as the mayor of Wei Jinyi, his level has improved. He can often approach the emperor at the request of imperial edicts and have the opportunity to see many paintings in the palace. He also met other court painters and some royal ministers, which played an important role in improving his painting skills and enhancing his reputation. " During the hundred years from Hongwu to Hongzhi in the early Ming Dynasty, the palace paintings of the Royal Academy of Painting occupied the main position in the painting world. The characteristics and styles of the times are mainly embodied in Xuande, Chenghua and Hongzhi dynasties. In particular, flower-and-bird painting has broken through the "courtyard-style" program, and there have been many styles such as meticulous brushwork, freehand brushwork in ink and wash, and boneless coloring, and some innovations have been made. Among them, Lin Liang is the pioneer of ink freehand brushwork. Song Hetu (collected in Guangdong Museum) brought new vitality to the "courtyard-style" flowers and birds in the Ming Dynasty with his "literati painting". Although there were freehand flowers and birds before the Ming Dynasty, they were still the mainstream form of hook dyeing, and the "courtyard-style" flowers and birds in the Song Dynasty still maintained great influence in the Yuan Dynasty. Ink freehand brushwork flower-and-bird painting in Ming Dynasty was initiated by Lin Liang. Later, Shen Zhou, Chen Chun, Xu Wei and other cultivators came one after another, pushing freehand brushwork to the extreme step by step, becoming the most popular and successful flower-and-bird painting form in Ming Dynasty, and finally merging into the magnificent flower-and-bird painting style in Ming and Qing Dynasties. Lin Liang undoubtedly played a leading role. He is an indispensable figure in the history of flower and bird painting. The artistic style is mainly based on the novel "courtyard" flower-and-bird painting. In order to meet the needs of the court in the Song Dynasty, we pay attention to the luxurious, exquisite and colorful style. In particular, the theme is mainly rare birds and famous flowers and stones in the palace gardens. "Flowers are to peony and peony, birds are to bend phoenix, cave and green, and they will become rich and expensive; And pine, bamboo, plum, chrysanthemum, gull, heron, goose will be idle; As for the grandeur of cranes, the fighting of eagles, the relief of willows and phoenix trees, the age of Qiao Song Cooper is cold and open, spreading out in the picture. " (Xuanhe Huapu Volume 15. Sikuquanshu (Volume 8 12, P57, Shanghai Ancient Books Publishing House 1987) tells the pattern of court painting in the Song Dynasty, and also reveals the sociality and class nature of the art of court flower and bird painting. However, Lin Liang is no longer limited to the rare birds and flowers in the court garden, but inherits Xu Xi's literati style of "where rivers and lakes are full of flowers, wild bamboos and deep fish" and depicts geese. His paintings are not colorful but obsessed with ink and wash, and they are works beyond ink and wash. Li Kongtong once said a poem: Lin Liang only used pen and ink to write birds, and half-scanned pen and ink; Waterbirds and land birds are wonderful, and all the houses are moving. Like the ancient wood cold forest theme popular in the landscape at that time, it can be written freely and flexibly, pursuing a detached interest in nymphs and flaunting its elegance. Liang Lin once described the flying, perching, snuggling, frolicking and other modes of the heron, showing the characteristics of geese living in groups, flying in groups, being frightened and tenacious. The materials and ideas of these works are full of folk tastes and bold paintings, which reflect his civilian aristocratic taste and fully express his feelings and interests. For example, the "Snow Scene Map" axis (now in Yantai Museum) shows a scene of a pair of geese resting by the reed pond on a cold snowy day. The whole picture highlights a "hungry" and emphasizes a "cold". The prominence of "meaning" in Ming Xianzong period after Xuande coincides with the tendency of "literati painting" in the whole court painting. Lin Liang lost no time in introducing the temperament of literati painting into painting and reinterpreting it, thus creating a simple and elegant painting format that pays attention to brushwork and ink interest. Yu Jianhua (flyer art collection) once pointed out in his History of China Painting that literati painters pay attention to charm and freehand brushwork. Lin Liang's "calligraphy and painting" resounded through the painting world. He was the first "courtyard-style" painter who introduced cursive script into painting creation. In the court painting at that time, his level of freehand brushwork of flowers and birds was pushed to the highest level. Birds in the Shrubbery (now in the Palace Museum) has a cursive script by Lin Liang. The inscription of this work is very simple, only the word "Lin Liang" in cursive script. Lin Liang's contribution to painting is mainly cursive script. Self-knowledge of "Dongguang Lin Liang". The flower-and-bird painting of literati in Zhong's Printed Book is more elegant and relaxed than literati painting, forming a unique aesthetic effect and winning the favor of literati. Scholars such as Ming Dynasty and Ming Dynasty often write poems, but there are few poems in some paintings. His Old Wood Goshawk (now in Nanjing Museum) has an axe. Old trees along the river are like iron, and independent oak trees stretch out. Since the reign of Xuande, due to the "literati painting" of court art, Lin Liang's later works are mostly based on verve, with freehand brushwork as the method, elegant brushwork as the sense of ink, and simple and simple as the surprise. Lin Liang is fascinated by the wild scenery in the rivers and lakes, with ink paintings, bamboo flowers, ducks, herons and geese lying beside the water outside the sand to flaunt its elegance. He stopped at various magnificent and charming landscapes of rivers and lakes in Shan Ye, such as land birds, pine trees and ancient trees. Every work is concise and meaningful: 1. There is no shortage of "heart". When you stop to think about it, you will find that the whole picture is no longer just about two geese. It seems that two geese are the portrayal of real people in reality, which highlights the "hunger" and "cold" of this person. This shows that Lin Liang has turned from "material meaning" to "mind", emphasizing "mind" and ignoring "material meaning". 2. The release of "artistic conception". Lin Liang did not paint gorgeous rare birds and animals and famous flowers and stones in the palace garden to cater to the emperor, but painted lonely geese who lived in the two houses in the cold winter? How many working people are struggling in * * *, while the dignitaries living in the upper class are drinking and singing? Lin Liang, as an imperial painter, has no worries about food and clothing, but as a patriotic citizen, every scene he encountered in collecting folk songs is vivid in his mind. But at best, he is a tool for imperial entertainment. Even if he cares about the sufferings of the people, he just dares to be angry and dare not speak. However, the pen in his hand expressed his thoughts, which also gave Lin Liang a rare material completely different from the past. Therefore, what we see in Lin Liang's whole painting is not only the external description of the aesthetic subject, but also his own inner expression. Lin Liang's pursuit of beauty is no longer limited to the shape and similarity of the objective image itself, but integrates the subject's thoughts and ideas into the creation of objective beauty. The beauty in his works is more the exposure and externalization of his own thoughts. This should be the release of "artistic conception". 3. The change of "pen meaning". In Lin Liang's later "literati painting" works, simple and simple lines and gorgeous and luxurious color images are no longer used to express it, but the changes of pen and ink are used to express it. Lin Liang developed pen and ink skills with unique artistic characteristics, and created the "literati painting" style of freehand brushwork flower-and-bird painting. His freehand brushwork flower-and-bird painting has become the mainstream of flower-and-bird painting. Appreciation of Lin Liang's flower-and-bird paintings includes meticulous painting and coloring. Although his ancestors were yellow and respectful, they flourished and declined, and they had a lot of experience, so they became a family. Lin Liang's freehand brushwork of ink and wash is even more famous, taking ink and wash as a smoke wave, and his brushwork is cursive, which can make the viewer move. Painting originated from the courtyard style of the Song Dynasty, but it absorbed the indulgence and simplicity of the Southern Song Dynasty and was also influenced by the unrestrained Zhejiang School, so it became a major school. Duo-Lin Liang is composed of magnificent or interesting natural images, such as goshawk, heron, crane heron, peacock, golden pheasant, western Western jackdaw, sparrow and magpie, and wild vegetation such as Gu Song, reeds and shrubs. The bold and unrestrained brushwork is used to express the bravery and wildness of creatures. The combination of the two is appropriate and perfect, vivid and vivid. Each painting should be dominated by two big birds, and there are birds in the treetops, all of which are thick strokes and big strokes, such as the belly of a golden rooster. A giant pen dipped in cinnabar from knee to tail has swept down, and the round thickness is better than the thin, which is especially wonderful. One is a cross tree in the evening scene, and the crows that inhabit it are written in light ink, with only one stroke, no claws and feathers, and stay in the smoke. However, his freehand brushwork in ink and wash is not a loose pen, and it is still accurate without seeking the shape, and the genus and species can be argued one by one. In a wide brush, it is sometimes supplemented by fine outlines to present outlines. There are few meticulous paintings in Lin Liang's handed down works, and most of them are freehand brushwork in ink and wash. There is also an earlier meticulous painting "Camellia Silver Carp Map" axis. Many ink paintings are freehand brushwork. In his later years, there are Birds Gathering in Shrubbery, Lin Qiu and Qin, Luyan, Birds Gathering in the Lotus Pond, Luyan in Snow Area and Double Eagle. In these paintings, birds generally draw structural outlines with heavy ink and render them with light ink, making them look solid, plump and realistic. The background of trees and stones is mostly thick, indifferent and slightly dyed, free to fly, rough, simple and pungent, rough and fine, neat and neat, vigorous and temperament, which embodies his typical appearance. Shrub bird collection map (local 1) Among many bird themes, Lin Liang especially likes to draw eagles. The works only involve eagles, such as snow eagle and goose, double eagle, old wood and goshawk, double eagle axis, double eagle, double eagle and eagle. The theme of Death of a Raptor is combined with Xiong Qiangyi's pen and ink, and the combination of * * * has a shocking aesthetic impact and far-reaching influence. From the artistic creation of Badashanren and Qi Baishi, we can clearly see the introduction of Lin Liang's techniques. Taking Lin Liang's most outstanding Shrubbery Birds and Two Eagles in his later years as examples, this paper analyzes their painting styles. The bird in the bush is a hand-painted work by Lin Liang. Silk is dense and delicate, with a length of 14.7 cm and a width of 6 1.6 cm. Only cursive script Lin Liang is used for signature, and there is a good book printed on the white bottom. Under the seal, there is a small white seal authorized by He Ying (collected by He Ying). The whole painting is a little colorful, depicting birds playing in the snow, looking for food and shelter. The whole picture is smudged with light ink, with white space in the middle to represent snowflakes. From a distance, the branches seem to be covered with thin snow, and nine Ciwu trees live on the dead branches of old trees covered with snowflakes. They either huddle together or whisper to each other, just like a family. Birds are flapping their wings and jumping happily, even branches and weeds are shaking. Scenes blend, and the warm atmosphere of birds gathering is vividly displayed by Lin Liang. The whole picture seems to be scribbled at will, but the natural form of the bird is still accurately grasped. As a court painter, it is not allowed to pay attention to work. The flower-and-bird paintings in the Ming Dynasty Palace Painting Academy still follow the style of quadrangles in the Southern Song Dynasty. Painters pursue the shape of objects through meticulous brushwork, and almost all their energy is devoted to the accurate description of the number of bird feathers. Lin Liang's freehand brushwork and freehand brushwork, simple brushwork modeling and interesting rendering constitute the basic characteristics of freehand brushwork flower-and-bird painting. Lin Liang was good at meticulous brushwork in his early years and had a good sketch foundation, so we take his strict statutes as an evaluation standard. For example, the nine secondary objects in this painting have different expressions, all of which have echoes and emotional exchanges. Bird-catching in Shrubbery (Part II) Interestingly, Jiuciwu, commonly known as Western jackdaw in the west, lives on a branch. It is said that it has the habit of feeding back. Many ancient books often use this theme to show filial piety and family love and harmony in painting. For example, Shen Zhou and Tang Yin in Ming Dynasty painted works on this subject. In his masterpiece "Two Eagle Maps", we can clearly see this characteristic of seeking dharma in the process of liberation. The flowers and trees on the screen show a relaxed posture, and the pen and ink are as vigorous as cursive, but the two eagles still have the meaning of meticulous brushwork. Therefore, Lin Liang's freehand brushwork of flowers and birds is very different from later literati paintings. In his obsession with pen and ink, he always grasped the traces of flower-and-bird modeling and statutes in the courtyard. Ink-and-wash flower-and-bird paintings created by later generations were widely circulated at that time, such as "Business", "Always Cleaning under the Door and Peeking at the Method" by Qu, and "Learning from Flowers, Birds, Deer and Wild Goose" by Liu Chaoyun (Volume 6 of Ming Hua Lu, a later famous flower-and-bird painter in the imperial court), and so on, which were also copied at the beginning. Lin Liang's "On Lu Jiwen by Famous Merchants" was written by Fan Ji in the Red Age, with many fake books and a good name (preface to Li Kaixian's "Living in Idleness" in Ming Dynasty). In fact, literati flower-and-bird painters after the mid-Ming Dynasty also absorbed Lin Liang's painting characteristics. For example, Shen Zhou is close to Lin Liang. "Ishida Weng is so high, which is unique. Outside the mountains and rivers, flowers, birds, animals, fish and insects are all different, and they are hastily decorated, but they are full of affection, and literati play with ink, and there is no Sect at all; If you like, you will be close to Xu, but you will be assimilated. " Tang Yin's flower-and-bird paintings are mostly sketched in ink and wash, and the clarity of ink and wash is close to that of Lin Liang. However, judging from the temperament of pen and ink, the exquisiteness and conciseness of literati painting corrected Lin Liang's trivial shortcomings. Badashanren was born out of Liang Lin's pen and ink in the late Ming Dynasty. His eagle painting method, from modeling to pen and ink, has obvious origin with Lin Liang, but he condensed Lin Liang's heroic, unrestrained, extremely round and profound in a little frozen desolation, sadness and implication.