First of all, the characteristics and evolution of the face, clothes and dim of the murals of bodhisattvas and laity in different times are listed as follows:
Beiliang
Bodhisattva face: western region type; Dress; Western clothing; Smear; Western concave-convex method.
The faces of story characters: Western Region type; Wearing western-style clothes; Halo dyeing: Western concave-convex method.
provider
First, the face type: Western region type; Dress; Northern Khufu; Halo beam: Western concave-convex method.
Second, the western phase: the intermediate prototype; Clothing: Zhongyuan Hanfu; Halo: Central Plains cable surface.
Northern Wei Dynasty (386-534)
Prototype in Bodhisattva, unitary domain installation, unitary domain halo method.
Keywords prototype of story characters, Sui Dynasty in Western Regions, Qiuci costume, Han-Hu miscellaneous clothing,
Patron prototype, Zhongyuan Hanfu, Zhongyuan Suyan.
Western Wei Dynasty (535-556)
Bodhisattva
First, the prototype, western-style clothing, western-style painting method.
Second, the southern type, Zhongyuan Hanfu, Zhongyuan smear (face smear) method.
The characters in the story are of southern type, Central Plains Hanfu, and Central Plains daubing method.
Southern type, Zhongyuan Hanfu, Northern Khufu, Zhongyuan daubing method.
Northern Zhou Dynasty (557-58 1)
Jiesha
First, make a small prototype, western clothing, Central Plains Hanfu, and use Chinese and Western smudges together.
Second, the new Western Region types, Western Region costumes, and Western Region (five Byaku Shiki) daubing methods.
The prototype of story characters, Central Plains Hanfu, Hanhu miscellaneous clothes, the combination of Hanguang and monism.
provider
First, the prototype, the Central Plains Hanfu, uses the Chinese and Western shading method, and the Central Plains rock surface.
The second is the northern Hu style, the northern Hu clothing, and the combination of Chinese and western smudges.
Bodhisattva prototype, Chinese and western-style clothing, shading method of combining Chinese and western, shading method of Central Plains.
Prototype of story characters, Zhongyuan Hanfu, Khufu, Zhongyuan daubing method.
The prototype of the provider, Hanfu in the Central Plains, Khufu, and Fa in the Central Plains.
Early Tang dynasty
Bodhisattva prototype, Chinese and western costumes, Zhongyuan daubing method, Zhongyuan plain face.
Story character
First, the prototype, Zhongyuan Hanfu, Xiaoyuan plain noodles, Zhongyuan pregnancy and dyeing method.
Second, the western region Hu style, the western region Hu clothing, and the Central Plains smudge method.
Sponsor, China prototype, Central Plains Hanzhuang, Khufu, Central Plains Plain, Central Plains daubing method.
late tang dynasty
Bodhisattva prototype, Chinese-style western-style clothing, plain face of the Central Plains, light and shade method combining Chinese and Western.
Mysterious man
First, the prototype, Hanfu in the calendar, and the Central Plains smearing method.
Second, Tubo style, Tubo outfit, and Central Plains daubing method.
Third, the Western Hu style, Western costumes, Chinese and Western mixed clothes, and the Central Plains smudge method.
provider
First, the prototype, Central Plains Han Zhuang, Khufu
Second, the Tubo style, vomit, and the Central Plains smear method.
Late Five Dynasties and Early Five Dynasties
Prototype of Bodhisattva, Chinese and Western costumes, Central Plains Hanfu, Central Plains plain face, Central Plains plain face, Central Plains daubing method, Chinese and Western daubing wall use.
Story character
First, the prototype, Zhongyuan Hanfu, Zhongyuan daubing method.
Second, western Hu style, western Hu clothing.
provider
First, prototype, Zhongyuan Hanfu, Hanhui miscellaneous service, Zhongyuan daubing method.
Second, the duck-back style, duck-back clothing, and the Central Plains smudge method.
It can be seen from the changes in the main features of the above modeling that although Bitou in Dunhuang was more or less influenced by foreign Buddhist art in the untitled era, in the process of continuous nationalization, the system and norms of Buddhist art modeling in China have been formed, showing the national characteristics of Buddhist art in China.
2. On the artistic style and characteristics of figure painting in Tang Dynasty? The painting in the middle and late Tang Dynasty, on the one hand, perfected the style of the middle Tang Dynasty, on the other hand, opened up new fields. During the Five Dynasties (907-960 AD), the subject matter of figure painting gradually widened, and religious myths, historical stories and literati life became the subject matter of description. Painters pay attention to the description of facial expressions and psychology of characters, and their ability of vivid description has improved. In terms of technical style, it develops in two major directions: meticulous coloring pens are more varied and richer in color tones than those in the Tang Dynasty; In addition to the deformation and development of ink painting, there is also freehand brushwork of ink painting. 3. Briefly describe Chen Hongsui's artistic achievement and its influence? Another painter who was famous for his wine in Ming Dynasty was Chen. Chen Hongsui (1597- 1652) was named Laolian. Draw the character "Goguchi thief" Zhou Lianggong's "Reading Pictures" said that he was "eccentric and fond of drinking. People make gold and silver, and they use them freely. They especially like painting for the poor and frustrated, and there are hundreds of poor people who make a living from it. If you are rich and powerful, you will ask for it, although your money is not used to catch pens. " There are many stories about Chen Hong's slow drinking. For example, he once wrote on a calligraphy fan: "Ehai Xia Meng, I passed Brother Shen Lvdao's Hongxiang Pavilion in the rain. When I saw the paintings of Song and Yuan people, I got drunk and wrote a book. Looking back on last year, I have to do something today. " "Tao An Meng, Ye" also recorded the scene of Zhang Dai and Chen Hong slowly drinking in the West Lake for one night. They fought with their own brewed wine. "Call a boat, and then break the bridge. Zhang Hou will not feel drunk if he drinks alone." Chen Hong will make a fool of himself when he gets drunk slowly. "After three liters of sake, it is unheard of" ("Laijiatang Xun"). Of course, Chen Hong's drunken painting posture is even more special. Duke Liang of Zhou said, "He was in a hurry to make silk, or he made yellow leafy vegetables brew in Shaoxing dark, or he made Xiao Shuqing lean on the threshold instead of counting, so he needed to stop. "Or crawling with one hand, or grabbing claws with two fingers, or staring blankly, or holding an unfortunate urchin, the speed will not be calm for a moment. Once every ten days, it will be four or two times. " Chen Hong's slow drinking behavior is a reflection of his restlessness, fanaticism and vitality. Its state is probably unheard of by others!
Chen Hongshou's artistic achievements are first manifested in printmaking. The Ming Dynasty to the early Qing Dynasty was the golden age of China's printmaking, especially Xiao and Chen Hongshou, who presided over the painting circle. Xiao's woodcut handed down from ancient times is dominated by mountains and rivers, while Chen Hongshou's figure painting is the only one. Chen Hongshou's printmaking manuscripts are mainly used for book illustrations and making cards (leaves), including nine songs and Qu Zixing's poems 12, 40 leaves of the Water Margin, 6 in the west wing due north of Zhang Shen, 4 in Love Story of Yuanyang Tomb, and 48 in Leaves of Bo Gu written one year before his death. 1638, Chen Hongshou's "Nine Songs" was illustrated and made into woodcuts, which had a great influence. The statue of Qu Yuan created by him was unparalleled in the Qing Dynasty for more than two centuries. When Chen Hongshou's "Nine Songs" was sent to Qin in 1638, it was used as an illustration and made into woodcuts, which had a great influence. The statue of Qu Yuan created by him was unparalleled in the Qing Dynasty for more than two centuries and was regarded as a classic of Qu Yuan. "Water Margin" is another group of exquisite prints that Chen Hongshou spent four months creating when he was twenty-eight. In this set of Outlaws of the Marsh, Chen Hongshou vividly depicts 40 heroes from Song Jiang to Xu. Chen Hongshou used a lot of sharp square turns, and the lines were very turning and changeable, which just conformed to the trend of clothing lines and interpreted the dynamic trend of characters. Short lines, slightly heavier pen, slightly lighter pen, clear and powerful. As soon as this set of paintings was born, not only the people rushed to buy it, but also won the praise of a group of painters. At the end of the Ming Dynasty, Chen Laolian's Leaves of the Water Margin spread all over the world, so that it was difficult for later painters to draw heroes of the Water Margin to leave his category. The West Chamber is Chen Hongshou's most illustrated book. There are three kinds of books: True North's The West Chamber, Li's The West Chamber and The West Chamber. Among Zhang Ben's six illustrations, the first one is A Portrait of Yingying, and the others directly depict five original works, including Mu Cheng, Wei Jie, A Glimpse of a Hong, A Dream of Surprise and Jie Bao, which shows Chen Hongshou's profound literary accomplishment and high artistic level. "The Thin Valley Begins" (Figure 2) was written one year before Chen Hongshou's death. It was carved by Huang Jianzhong, a good friend of Chen Hongshou and the most famous engraver of Huizhou School in the late Ming Dynasty. This set of 48 pictures, with Huang Jianzhong's exquisite skills and Chen Hongshou's design, is a perfect match, faithfully showing Lao Lian's painting style and mental state in her later years. The shapes and lines of the characters are older than in their heyday, and their heads are big and short, which makes them look quite naive. The lines are more natural, scattered and sparse, not as thin and neat as those in the prime of life, but rather old Gu Zhuo, where the lines are also very casual, that is, you can draw them. The soothing state of his characters and pen and ink has reached the highest aesthetic level of China traditional literati. Chen Hongshou, who once became a monk, dabbled in Taoist images. For a period of time after he changed into a monk's costume, he devoted himself to Buddhism and painting. Now give two examples to illustrate. First, draw a one-year-old Han (Figure 22) for "Unspeakable Picture", with a high nose and deep eyes and a strange face, sitting on a hard stone with a cane in his hand. Lohan's ears are pierced and his lips are slightly open, as if he were talking to someone who bowed his head in front of him. This prone person's appearance is also quite strange, and his expression is focused and pious. The characters were probably influenced by Guan Xiu, a Zen master of the Five Dynasties, and were deformed by Chen Hongshou, which was simple and straightforward. Guanyin statue is another masterpiece of Buddhist painting in his later years. The picture shows a man Guanyin, dressed in a white cassock, sitting on Bodhi Ye Qun with a wave of his hand. Long eyebrows, wide ears, elegant and generous. Its style and appearance, just like the commentator said, "the trunk is stalwart, the clothes are thin and the body is strong and round." At the top of the screen is half of Heart Sutra, with beautiful font. Finally, he wrote: "Monk Yunmen regrets his illness and respects his book." Looking at Chen Hongshou's achievements in figure painting, we can see that he has changed from a "god" in his prime, and he has made more and more achievements in his later years. The shape is grotesque, deformed, the lines are clear, round and fine, and the density is good, which is constantly refined in the "cultural" environment. Until modern times, Chen Hongshou's works were highly praised by Lu Xun. Lu Xun began to collect Chen Hongshou's works as early as his prime, and he was going to publish his prints in his later years. All these show that Chen Hongshou is a brilliant and great painter in the art history of China. Although Chen Hongshou is not famous for his calligraphy, his achievements in calligraphy art are quite amazing. Chen Hongshou's writing strictly follows the method of using the pen from the middle, and he knows the mystery of writing with the palm upright and the wrist flat. In the meantime, although he took advantage of the flank, he could adjust the pen immediately. Such superb pen control ability can undoubtedly be achieved only by holding the pen with the palm upright and the wrist flat. Moreover, the brushwork required by calligraphy, such as "returning to Tibet", "lifting pressure", "stumbling", "twisting" and "echoing", seems to have no defects in brushwork, but it has achieved no trace, which is the concrete embodiment of his indifferent and unpretentious diction and perfect cultivation. From his books, we can feel that Chen Hongshou's mind is cheerful, quiet and relaxed, and the process of writing seems to be the sweetest and most enjoyable for him. So it can be said that Chen Hongshou found the best way to hold a pen, and this way is the "true meaning" of calligraphy. In this "true meaning", the central operation of calligraphy, its return to Tibet, and its twists and turns all serve the smooth and beautiful writing.