Gao Yun listed a series of imitations in his exposition of Fuchun Mountain, which is a poetic place to live.
Fuchun Shan Jutu was published in Ming and Qing Dynasties, with the following imitations: Ming painters Huang Qian, Shen Zhou, Dong Qichang, Qing painters, Tang, Zhou, Shen Dian, Zou, Yun Xiang, "Four Heavenly Kings", Cheng Zhengyi, Hong Ren, Yu Yufeng, Yu Yantai, Wei, Jiang Xijue and Gao Cen. Among them, Shen Chan, Zou, Wang Yi, Yu Yantai, Wang and others have repeatedly studied.
There are many situations in imitation, which can be found in many discourses.
In the article Textual Research on the Original Appearance of Fuchun Shan Jutu, Wang Xiaohong divided the copies into the following categories from the perspective of the relationship between the painter and Fuchun Shan Jutu.
(1) once collected replicas of Fuchun Shan Jutu painters, such as Shen Zhou.
(2) Painters who have seen the copy of Fuchun, such as Zhou, Zhou,.
③ High imitation of Fuchun Shan Jutu.
(4) Never seen the original Fuchun Shan Jutu, but copied it over and over again, such as Wang Yi.
In Huang's Textual Research on Fuchun's Original Works, the manuscripts are divided into the following categories from the perspectives of critics and manuscripts.
(1) saw the copy in person.
(2) I have heard of imitations.
Of course, the "hearing" here is not "hearsay", not what I saw with my own eyes, but what I recorded.
All kinds of books circulating in the world usually have several names:
Authentic: the original, also known as the original.
Copy: it is a copy of the original, which is basically the same as the original.
Parent: It means to write or draw according to the truth.
Pro Ben has another one, that is, recite the original work in your mind and draw it.
These forms are available in many versions of Fuchun Shan Jutu. In addition to the original, it is better to copy and see the original; Even worse is the duplicate copy based on copy or replication.
Compared with other paintings, Fuchun Shan Jutu's original works really remain in the world, which is a very lucky thing. Although it has been burned, it still retains most of its contents. Before it was "burned", it was copied and left a copy. After that, various imitations were passed down from generation to generation.
The 32 people listed in the table have copied Fuchun Shan Jutu in various ways, and nearly 60 books have been recorded and handed down from generation to generation. These data are very impressive, which shows people's attitude towards "Spring Residence in Toyama".
Of course, there is a reason for this result. We can try to interpret it from the above list and the background of the times in the following aspects.
1. The drawing time of the copy.
From its publication to Shen Zhou's life, nearly 160 years ago, there were few copies. Perhaps in this period, there is no such book on the market, and people don't know about it. It was not until Shen Zhou got the picture scroll and was well received in the circle that it was widely known and Shen Zhou was lost. Dong Qichang has been alive for 286 years. During this period, people's understanding of atlas improved, and replicas began to appear, which was also related to Dong Qichang's admiration.
About 165 1 years ago, before the atlas was "destroyed", about 15 volumes were published.
After that, scrolls circulated frequently, mostly among bureaucrats, until they entered the court. At this time, the scroll has a wider range of knowledge and is even highly respected. Although it is impossible to get the original, I hope to have a copy and an invited copy. There are also copies you like. There are no fewer than 45 pictures involved in the palace collected during the Qianlong period. Many of these manuscripts are recorded, and some are handed down from generation to generation and collected in various places.
2. The region where the author of the copy is located.
Among the 32 copywriters, almost all are from Jiangsu and Zhejiang. During the Ming and Qing Dynasties, Jiangsu and Zhejiang paintings flourished, with many factions, categories and representatives. These people passed on from one another and formed a painting style. For example, there are representatives such as "Four Kings" and "Four Monks", and there is even the saying of "Wu Pai".
3. The occupation of the author of the copy
The authors of the manuscript are almost all celebrities, bureaucrats, celebrities, literati, painters, calligraphers, seal engravers, monks, Taoist priests, court painters and so on. This also shows the taste of the scroll.
4. The style of the author of the copy
Without exception, the style of copywriting is mainly landscape, and some are flowers and birds, calligraphy and so on. The scroll itself is a landscape painting, also known as the Lanting in the painting. It is normal for a painter to be huge.
5. Dong Qichang's promotion
Dong Qichang highly praised Fuchun Shan Jutu, which had a great influence on his descendants.
Dong Qichang put forward the theory that "there are two schools of painting", which influenced Kanggan. Dong Qichang also advocated the "antique style of landscape painting", which led to its abuse, and incorporated "literati painting" into "Southern Sect", while Yang Nan suppressed the north, thus improving the status of literati painting.
Most of the painters in the Southern School take Dong Qichang as their teacher, and their teacher's biography is orderly.
6. Formation of Five Winds
From "Four Masters in Yuan Dynasty" to "Wu Pai" in Ming Dynasty, the active artistic atmosphere in the south of the Yangtze River has promoted the long-term enthusiasm for learning and collecting landscape paintings here. Correspondingly, many skilled painters have copied the famous artists of the previous generation for profit.
Under the influence of the above factors, copying Fuchun Shan Jutu, or a symbol, also led to many reasons for copying.
However, there is another phenomenon to consider. Because Fuchun Shan Jutu seems to have the meaning of "Chun Xue", only scholars and officials are keen on this volume, while others seem to have no enthusiasm for this volume. Because of such a special crowd, there are few records of scrolls on the market. In the record of the original and copy, it seems that only Shen Zhou once saw the original picture book in the market and then circulated it among collectors, of course, the price was higher.
Compared with other paintings, it seems more difficult to understand Fuchun Shan Jutu, so it is not easy to imitate this volume for profit. If you look at Jiang Xun's interpretation of Fuchun Shan Jutu, there is no relevant preparation knowledge. Just like the gobbledygook, scrolls are more metaphors and metaphors. Compared with The Riverside Scene at Qingming Festival, although there are techniques, metaphors and metaphors, at least we can understand the story and documentary nature of the picture.
You can use a metaphor, such as our diet. Of course, food needs to be interpreted by experts, such as taste, collocation, cooking, techniques, nutrition and so on. If you don't understand these at all, you can also have a taste, see the shape and taste, know the ups and downs, and know the softness. Fuchun Shan Jutu can only be "Chun Xue", and it is difficult to enter the realm of "Xialiba people", so it is rare in the market.
On the other hand, there is another interesting phenomenon, that is, Fuchun Shan Jutu has no edition. There are also many volumes of the typical Riverside Scene at Qingming Festival, and there are also many books for schools. There are 7 volumes recorded and 4 volumes handed down from generation to generation. So I can't help wondering why Fuchun Shan Jutu doesn't have a version.
Fuchun Shan Jutu is also deeply loved by Qianlong, who deeply loves Zi Mingjuan. Gan Long wrote dozens of inscriptions and poems on the scroll, which shows his worries. But Qianlong refused to let court painters make manuscripts, and he really didn't know what the emperor was thinking.
Among the court painters, there are many high-level painters, and in many copywriters, there are also court painters, such as Wang Hui, but Wang Hui has no chance to be a proofreader.
Then another problem is the difference between literati painting and genre painting and boundary painting.
Genre painting, especially boundary painting, is not recognized by literati, and is often endowed with rigidity, no innovation, and does not enter the eyes of literati. In fact, boundary painting is also the basic skill of painting, and any painter can do it. It is also said that Wang Yi was born to be a master of landscape painting and boundary painting, and the multi-volume "Kangxi's Southern Tour" was supported by Wang Yi.
Of course, it is not a painter's business to be a school or not. The painter has no right to decide. It should be Kangxi's business. Perhaps this should be a question worth thinking about.
reference data
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[2] Jun Gao Fuchun Mountain, poetic dwelling [D]. Nanjing Normal University, 20 15.
[3] Wang Xiaohong. Textual research on the original appearance of Fuchun Shan Jutu [J]. Calligraphy and Painting World, 2011(06): 4-15.
[4] Research on Fuchun in Huang's Works [J]. China's Painting and Calligraphy, 2010 (04):10-17-42-51.
[5] Lu Jiaheng. Wang Xuehao and his landscape painting art [J]. China Painting and Calligraphy, 2006(05):4- 16.
[6] Yang Boda. Dong Qichang and the Academy Painting in Qing Dynasty [J]. Art nouveau, 1993(0 1):37-43.