This is an unremarkable walk.
You often walk through the suburbs like this. You are familiar with all the details here, so you don't have to bother to analyze them: these lush oak trees, dense and low shrubs, slopes covered with weeds and wild flowers, shallow bays with gurgling streams, and even the sky with a little silver fog all exist naturally here.
It seems like a awakened childhood memory-at dusk after school, you ran wildly in such a field. You know every plant, talk to every little creature hiding behind the branches, and name every stone. You dispatch troops and soldiers to chase and play with your friends in your natural kingdom until the end of the day;
Or, it is a daily family outing-you see, it is like the foot of a mountain in the southern suburbs, or a park forest that has not been carefully repaired. I'm afraid you will also choose a flat grass to sit in a daze, and you will walk barefoot to the stream in front of you-that cool feeling still exists today.
There is no threat, not even the smallest secret. You don't need to be emotional when you look around, except for the girl who bends over in the flowers, and you can even think of something else casually-and that girl is what makes you calm down. In this way, she lives alone in a quiet world, as if she had never been disturbed by the traffic in the city; It seems that the baby has returned to the womb, isolated from the secular, comfortable, comfortable and independent.
At this point, everything in front of me was suddenly frozen by a frame. Memories disappear and really emerge, and photo frames remind you of the material carrier of the spiritual world. However, you can still find yourself in this painting called Fontainebleau Forest.
This is really like a beautiful story. The exact place and time are no longer important. The smell of the earth under your feet and the crack of dry wood are all in fleeting illusions. You must have spent a warm time in this suburb at some point in your life. These poetic landscapes have become fragments in your memory.
Are you sure you know where it is? It is a land without danger and miracle, but it will be unforgettable for a long time.
2. A land without miracles
French landscape master Connor looked at this land with such eyes. On this theme, he painted a series of masterpieces in his artistic career-Fontainebleau Forest is one of them.
/kloc-At the beginning of the 0/9th century, the July Revolution was about to break out, and France was in the whirlpool of political struggle. The world is in turmoil and people are displaced. At the age of 34, Coro had just finished his painting tour in Italy. After returning home, he did not devote himself to the reality of smoke, and he was not prepared to close himself in the thrilling spiritual world of religion. He just sank into the warm mud of Fontainebleau forest in an almost disenchanted way, using his usual neutral tone-ochre brown or dark green, calm plane painting technique, and got peace of mind there.
This is a primeval forest in the suburbs of Paris, France, where there are no thrilling legends that can be transformed into painting language. But it is such a place that attracts a large number of artists to make pilgrimages like the holy city of Mecca. Painters Rousseau and Diaz settled here successively. Miller and his family have lived here for many years, 26 years.
Barbizon, located at the entrance to the forest, has lush vegetation, abundant aquatic plants and simple folk customs. Although there is no myth or epic here, it is full of endless fireworks. Lush forests, towering old trees, desolate highlands, bare quarries and steep rocks can't wait to tell the life story of Connor by chance. The simplicity and simplicity of these bustling cities touched him, as if every grass and tree contained an unspeakable great vitality. They are like the sounds of nature floating in the forest, attracting Connor to follow the sound.
Conor, who entered barbizon, faced this vast and claustrophobic natural world and let go of his fascination with Greek and Italian classical culture. He is no longer floating in the air overlooking the world, inspiring or preaching in the air, pursuing grand narrative and wandering in a mysterious and distant foreign land. He walked out of the studio, went to nature, picked up pen and paper, paints and tools, tirelessly captured the flowing light and shadow, and re-recognized his strange and familiar home.
This is the first time that Koro looked back at his hometown with mythical reverence for ancient Greece and devoted himself to loyalty without hesitation. He roams around this rich land day after day, measuring everything he can see. He writes poems for the land under his feet with a brush, and the dreaminess and poetry of the scenery are reflected in the classical lines and romantic colors in his pictures.
Koro is not obsessed with calculating the description of scenery, but gives gratitude to a brush full of thoughts and emotions, which makes the original ordinary mountains and rivers covered with a layer of sacred glory; Living in Fontainebleau for a long time, I combed the rain all day and night in Mu Feng, observed the withering of flowers and trees, listened to the singing of birds and felt the aura lingering in a flower and a cloud, and my spiritual world was renewed and infiltrated. The natural habitat of life is like a mass of matter, which tightly wraps his soul in troubled times. He fell in love with this seemingly uncivilized virgin land outside the hubbub.
The forest of Fontainebleau, written in 1830, is a self-sufficient, peaceful and complete world built by Koro. It is closed, but it grows inward, but the silence is full of sound. It has a mature and energetic elegance. After staring for a long time, you reach an agreement or tacit understanding with the scene before you. You will feel the torrent of emotion trickling along the river of reason: anxiety and calmness, detachment of sadness and dilution of strength. It seems that those subtle, sharp and unspeakable emotions in you have also found a gap in your free breathing.
This is no longer just an ordinary forest on a summer evening, but a field where the soul bound by reality can be released, a valley where the weather-beaten experience can be cured, and a river that wants to immerse itself in life after walking through Qian Shan.
This is a profound elegy of rural life written by Koro based on reality and fantasy of a perfect world.
3. Practice of harmonious coexistence between man and nature
Just like Zhan Ziqian's You Chuntu is of great significance to China's landscape painting. Before Connor, landscape painting was not a kind of "natural creation" in the salon landscape painting of European classical painting school. In order to create dramatic effects, those grotesque landscapes pieced together in literary narratives or myths and legends are nothing more than artificial "stage sets" that highlight people. They were not only submerged by the rising industrial metropolis, but also swept into another world by various painting schools.
However, Keluo broke through the previous painter's blindness to all things in nature and found the way to the real scenery. He advocated that "nature comes before everything" and pointed the brush at the realistic home scenery. The scenery that could only watch the fire from the other side of the bank turned into an immersive moment; The inexhaustible original scenery, away from the noise of the city, is within reach. Masterpieces with this theme also boarded the elegant hall one by one, creating a grand precedent of realistic landscape painting in the history of western art and gestating the pioneers of early impressionism.
So, it is because Connor's landscape paintings are not completely realistic. You can't even classify them. Just like the scenery depicted in Fontainebleau forest, it is an artistic reconstruction of memories, emotions, philosophies and images collected from nature. He once wrote in a picture book: "I consciously imitate, but I don't forget the passion I hold on to." He also said, "Let emotions be your guide alone. Truth comes from art and emotional complement. "
How many dusk days, when the morning light or the water shines, he stares at the stream in front of him, watches the mist rise from the mirror-like water, and picks up the brush in illusory meditation. As if looking there, he could hear echoes from the depths of the forest, from the literary and art circles, from Miller, Rousseau and Monet; You can capture the information brought by a beam of light and a dust. When he picked up the pen, he fell into a dream of talking to heaven and earth alone-a misty world in the dream. He painted this dream of harmony between man and nature, which opened a door to innovate art history.
However, Connor, who has a good temper, has been avoiding the political storm and the "ism" dispute in the literary and art circles all his life. Even though he was at the forefront of the painting revolution, he didn't go to cafes to speak, waved flags and grandly shouted for his innovation. He is just immersed in the ever-changing pursuit of that beam of light and that particle of dust, and is willing to be a "psychic" between nature and human beings, silently decoding the stories of everything in the world.
His feet firmly stepped on the earth, his eyes always crossed the crowd, crossed the vicissitudes of life, and looked at the eternity without sadness or joy. His country, his mountains and rivers, is the place where he once practiced spirituality and let his life stretch freely. Just like his misty, flickering memories, uncertain, but extremely beautiful.
Judging from China's reclusive culture, some broad artistic conception similar to the aesthetic taste of China literati paintings can always be reflected in Ke Luo's Fontainebleau Forest and many landscape paintings. The so-called indifference is to be clear-headed, quiet and far-reaching. A hermit in China, with a guqin and three cups and two light wines, can indulge in landscapes. "I wonder if there were any Han people in Wei and Jin Dynasties"; French hermits, with a paintbrush and a few pastoral songs, can also get a "lush, flowery" beautiful countryside, which is like a proposition, homologous, you go down, I go back, and finally break the secular barriers and lead to this eternal paradise.
The unity of heaven and man has always been the most poetic way of life for the human soul. If China painters who wrote landscapes nearly a century earlier than Koro fled to nature, then Koro's praise for the forest and countryside of Fontainebleau is his long-lost hometown. This kind of going home brings inner peace and joy. Even if the history of poetry disappears and the gods are gone, the soul feels unprecedented peace of mind.