Quantity is still circulating in the world. Judging from the copy, the author is good at painting. Although it can't completely reproduce Zhang Sengyou's artistic features, it reflects some features of the original work to some extent, and it is still the only available material for studying Zhang Sengyou's technique style. Zhang Sengyou studied hard all his life. "I can't put pen to paper, I can work at night, and I'm not tired. Within a few years, I have no leisure. " Zhang Sengyou's works include Twenty-eight Sleeping Gods, Badi Statue, Han Shejiao, Wu Wang Shewu, Dao Wang, Strange Picture of Qingxi Palace, Mona Immortal Picture, Drunk Monk Picture, etc. , recorded in. No original works have been circulated, only Liang Lingzan copied his "Five Stars and Twenty-eight Dwellings" in the Tang Dynasty, which is still circulated in the world (now in Osaka City Art Museum). "But look from the photos. The appearance of Zhang Sengyou's paintings is not obvious, and many exquisite techniques of Zhang's paintings, such as point dragging, simple pen and concave-convex method, can't be identified. It's just that the figure, face and clothing of the god man are all wonderful, with the characteristics of "strange shape", "strange appearance and strange summer". " -"Exquisite Ceremony of the Famous Master of Calligraphy and Painting in China" He once painted "convex and concave flowers" with vermilion and turquoise in Tianzhu (ancient Indian painting) at the gate of Yicheng Temple in Jianchang, which had a three-dimensional effect. Yao Zui's Catalogue of Continued Paintings said: "Good painting of pagodas is beyond the reach of group workers. "Zhang Yanyuan's family once preserved Zhang Sengyou's Tathagata and saw his works such as Vimalakīrti and Bodhisattva. Zhang Sengyou worked hard all his life, and continued to draw a catalogue saying that he "worked day and night, was lazy and tireless, but he kept a clear distinction between public and private, never put down his pen, but within a few years, he had no leisure." It shows his valuable diligence. In terms of color, it absorbed foreign influences. According to "Jiankang", "When entering the temple, it was made by Wang Lun, the king of Liang Shaoling, and the door of the temple was painted with convex and concave flowers, named as the handwriting of Zhang Monk Friends. Its flowers are made of the legacy of Tianzhu, Zhu and turquoise. From a distance, eyes are dizzy and myopia is flat. The world is salty and different, so it is called convex and concave temple cloud. "It is said that he created a" boneless "method with no outline, all painted in color, which changed the thin image since Lu Gu, created a fuller model and drew a" short and colorful face "for people. Zhang Huaiguan said: "The beauty of a person is to show his flesh, to show his bones, and to take care of his spirit. Zhang Sengyou's "thin style" painting was very popular in Sui and Tang Dynasties. Later generations say that his paintings are mostly based on calligraphy, with strokes like a hook and halberd sword. There are gaps and images in painting, which changed the "dense body" painting method of Gu Zhi in the Eastern Jin Dynasty and Lu Tanwei in the Southern Song Dynasty. Later generations and Wu Daozi in Tang Dynasty called it "sparse body". Both Confucius and Confucian children are good at drawing religious paintings.
Zhang Sengyou is good at painting people's stories and religious paintings, and is called a painter who surpasses his predecessors. Liang Wudi Good Buddha "Five Stars and Twenty-eight Nights"
Anyone who decorates a Buddhist temple is told to paint a wall. Painted Buddha statues, with their own style, are called "Zhang's style" and are a model of sculptors. He is also good at portrait painting and genre painting. He is also a dragon painter, and there is a legend that makes the finishing point break through the wall and fly away. He painted "convex and concave flowers" with cinnabar and turquoise on the gate of Yicheng Temple in Jiankang with Tianzhu (ancient India) painting method, which had a three-dimensional effect. Yao Zui's Catalogue of Continued Paintings said: "Good painting of pagodas is beyond the reach of group workers." Zhang Yanyuan's family once kept Zhang Sengyou's Tathagata and saw his Vimalakīrti, Bodhisattva and other works with their own eyes. Zhang Sengyou worked hard all his life, and continued to draw a catalogue, saying that he "worked day and night, was lazy and tireless, but was clear about public and private, and never put down his pen, but he could not be idle for several years." It shows his valuable diligence. In terms of color, it absorbed foreign influences. According to "Jiankang", "When entering the temple, it was made by Wang Lun, the king of Liang Shaoling, and the door of the temple was painted with convex and concave flowers, named as the handwriting of Zhang Monk Friends. Its flowers are made of the legacy of Tianzhu, Zhu and turquoise. From a distance, eyes are dizzy and myopia is flat. The world is salty and different, so it is called the convex and concave temple cloud. " It is said that he created a "boneless" method with no outline, all painted in colors, which changed the emaciated image since Lu Gu, created a fuller model and painted a "short and colorful face". Zhang Huaiguan commented: "The beauty of people, Zhang (monk) gets his flesh, Lu (exploration) gets his bones, and Gu (opening) gets his spirit." Zhang Sengyou's "thin style" painting flourished in Sui and Tang Dynasties. Later generations say that his paintings are mostly based on calligraphy, with strokes like a hook and halberd sword. There are gaps and images in painting, which changed the "dense body" painting method of Gu Zhi in the Eastern Jin Dynasty and Lu Tanwei in the Southern Song Dynasty. Later generations and Wu Daozi in Tang Dynasty called it "sparse body". Both Confucius and Confucian children are good at drawing religious paintings. Zhang Sengyou's works include Eighteen Nights of the Gods, Liang Wudi Statue, Hanwu Shooting at jiaozi, King Wu Ge of Wu, King of Tao, Monster in Qingxi Palace, and Fairy Mona. It is published in Xuanhe Painting Spectrum, Famous Paintings of Past Dynasties and History of Zhenguan Public and Private Paintings. The works handed down from ancient times include "Five Stars and Twenty-eight Dwellings", which is now in Osaka City Art Museum, Japan.
Gu, Lu and China's previous figure paintings were all done with lines, and the perfection of lines was the successful Five Stars and Twenty-eight Nights.
The only thing that can be guaranteed is that this situation has gradually changed in Zhang Sengyou. Lines are an important factor in the completion of the picture, but they do not play a decisive role. Painters are not satisfied with the "pure profit" effect achieved only by "continuous" meticulous lines, but should creatively adopt new methods. In the second year of "Famous Paintings of Past Dynasties", Zhang Sengyou pondered Mrs. Wei's calligraphy with great concentration and made a "simulation" according to Mrs. Wei's "Pen Map". "Every small painting is a coincidence, and the hooks and swords are dense." Zhang Sengyou used the method of "point, drag, rhyme and brush" in his calligraphy, which greatly enriched the techniques of Chinese painting and brought new forms to the picture. "Zhang and Wu (Tao Zi) are wonderful, but the pen is just a little, which seems to have been exhausted. When I left this painting, I saw its absence. Although it is not well written, it is also intentional. " In order to distinguish it from Gu and Lu's tight brushwork, Zhang Sengyou's painting method is called "sparse brushwork". Since then, a new two-way painting principle has been established, which enriches and expands the previous painting principle: "Only when we know the density of painting can we discuss painting". Zhang Sengyou has made an important contribution to the establishment of this new principle and standard. Another great contribution of Zhang Sengyou to painting is that he absorbed the "concave-convex flower" technique in Tianzhu (now Indian) Buddhist painting. "In the third year of Datong, I built a temple and went to Liuli County in the northwest ... the temple gate was painted with concave-convex flowers, called the handwriting of a monk friend. Flowers are made of the legacy of Tianzhu, vermilion and cyan. When you look dizzy from a distance, you will see that it is extremely flat and the world is salty, so it is called Aotu Temple. " The so-called concave-convex painting is the shading method and perspective method, which are not found in China local painting. This method is of great help to shape the space of the body, which can make the picture have a three-dimensional effect and receive realistic results. The introduction of the concave-convex painting of Dazhu was related to the introduction of Indian Buddhism into China at the end of Han Dynasty and the prosperity of Liang Buddhism. Buddhism flourished, and at the same time, a large number of Buddhist images were translated and copied. As a superb Buddhist painter, Zhang Sengyou quickly noticed the magic of Tianzhu painting and absorbed it, thus adding splendor to the development of figure painting in China. "Xuan He Hua Pu" has a monk's tune: "There are many monks and nuns who paint stones, and they advocate stones when they cover the emperor, so monks and nuns often paint well for a while." The "Zhang Family Style" of the Buddha statues painted by Zhang Sengyou is an obvious sign that distinguishes it from other figure painters. Before that, Zhang Huaiguan thought: "If you get your meat, you will get your bones, and you will take care of your spirit." . "Getting meat" refers to the paintings of monks, with plump and beautiful characters. The appearance of this image is closely related to the changes of aesthetic fashion in the whole society. Zhang's style has a great influence on later generations. In the more than 200 years after Liang, Zhang's painting style became the mainstream. According to the Records of Famous Paintings in Past Dynasties, Volume II, On the Biography of Teachers in the Northern and Southern Dynasties, many famous painters followed Zhang Sengyou in Sui and Tang Dynasties, and Wu Daozi, who is known as a hundred saints of painting, has always been recognized as a student of Zhang Sengyou. According to the book Xuan He Hua Pu and Shi Dao Xue, Yan was also a monk friend in Tang Dynasty. "When I arrived in Jingzhou, I saw the monk's paintings and said,' I want to give myself a name!' Tomorrow I will say,' Judas is a good cook in modern times.' I'll go again tomorrow and say,' There is no empty name'. This is Ou Yangxun's opinion. You can't go to 10 days, but you can stay here. "Zhang monk friend's original painting, at present, there is no way to find out. In the Tang Dynasty, Liang Lingzan copied his "Five Stars and Twenty-eight Dwellings", which is still alive today (today's edition). But from the picture. Zhang Sengyou's painting is not obvious, and many exquisite skills of Zhang's painting make Zhang Sengyou make the finishing touch.
Such as point-dragging strokes, simple strokes and concave-convex methods can not be recognized, which may be because the copy can not get its original extension. It's just that the figure, face and clothes of the immortal are painted "grotesque". "grotesque, grotesque, are all wonderful in summer." The sculpture style of "short and bright face" represented by Zhang Sengyou gradually replaced the style of "show bones and clear images" represented by Gu and Lu in Qi and Liang Dynasties, and it had prevailed in the north and south of the country by the late Southern Dynasty. But from the perspective of art history, this is still a basic formation period, and the real prosperity reached the peak of art in the Tang Dynasty. The plump, gorgeous and elegant Tang Dynasty style is the mature form of this style. Can it be said that without the establishment of Zhang Sengyou's "short and bright face" style, it is impossible to reach the peak of graceful, generous, plump, healthy and vigorous figure sculpture in the Tang Dynasty? Lu Gu is far away, and Zhang Sengyou was the painter who had the greatest influence on Sui and Tang Dynasties.
The aesthetic judgment conveyed in it is the concrete expression of the aesthetic characteristics of the times in painting, so we should not treat them as nonsense lightly. Zhang Sengyou lived in the era of perfect painting system in China, and Indian Buddhist art was widely spread in China. People should use the artistic spirit of their own country to accept and transform foreign artistic styles and further develop national painting. In such an atmosphere of the times, it is impossible for any great artist with achievements not to complete the artistic creation mission entrusted by this era. Zhang Sengyou is a representative who has made outstanding contributions in these two aspects. He inherited the "vivid theory" put forward by Gu, and applied the concrete theory of "vivid in blocks" to the creation of all painting images. If Gu Kaizhi's emphasis on "Adu is alive" is mainly confined to the expression of characters' demeanor, then Zhang Sengyou developed this unique theory into the shaping of artistic images. For a dragon that is "the image of human heart" in a national culture, he can also make it lifelike through vivid and superb description, so as to "make the finishing point" and "break the wall and fly". On the other hand, Zhang Sengyou has made great achievements in absorbing or transforming foreign Buddhist paintings. According to the painting "Five Stars and Twenty-eight Nights"
According to historical records, Zhang Sengyou is an extremely diligent painter, and his handling of painting creation has reached the point of staying up late. He also has superb painting skills and vivid ability. Liang Wudi once sent him to ask for the portrait of the prince. His paintings can make Liang Wudi "look at his face" and comfort his heart. Zhang Yanyuan, a famous art historian, also said that he "has only one or two strokes, but he seems to have done well." Therefore, when accepting the transformation of foreign Buddhist paintings, he can boldly put pen to paper and adopt new methods. He once painted a so-called "concave-convex flower" with three-dimensional effect in a temple in Nanjing, which made people feel concave-convex from a distance. "Myopia is flat" surprised the good men and women at that time. He also dared to draw the Confucius statue and the Buddha statue side by side in the emperor's temple, and let the sages of China enter the Buddhist holy land, which satisfied the balance between national psychology and foreign cultural identity. At the same time, he widely accepted the themes of Buddhist painting in the creation of images, including ancient and modern figures, mountains and plants, strange gods, exotic scenery and so on. And he can create all kinds of novel pictures. In terms of pen use, Zhang Sengyou adhered to the tradition of Chinese painting and borrowed all kinds of pens from China's calligraphy to his own painting creation. If Gu Xiaozhi consciously abandoned the brushwork in calligraphy when creating brushwork, then Zhang Monk-you consciously absorbed the brushwork in calligraphy while developing brushwork. During the Western Jin Dynasty, a famous calligrapher, Mrs. Wei, was born in China. She is the teacher of Wang Xizhi, a book sage. She once wrote a famous calligraphy theory's work "Pen Diagram" and analyzed the different strokes in calligraphy. Zhang Sengyou carefully studied this book in his painting creation, and his brushwork such as point, drag, rhyme and brushwork all met the requirements of Mrs. Wei's "Drawing with a Brush", which can be described as a coincidence. In this way, the novel image can be more widely recognized in the skills with national characteristics. Because of these achievements, his paintings have been unanimously appreciated. Zhang Sengyou lived in a critical period when Buddhism spread widely and gradually completed the process of China. This official led people to advocate it, which led to the spread of Buddhist sects, and Liang Wudi became obsessed with Buddhism. He decorated the Buddhist temple and asked Zhang Sengyou to preside over it. Under this specific historical background, it is not surprising that Zhang Sengyou's paintings can be widely appreciated by all aspects and classes, making his paintings a widely recognized model of the times and culture. Because of the age, it can be said that the works handed down from generation to generation by Zhang Monk Friends no longer exist. At present, a copy of "Five Stars and Twenty-eight Accommodations" in Song Dynasty circulated in Japan, many scholars think it may be taken from Zhang Sengyou's Buddhist painting model. In fact, in many cave murals in ancient China, various typical images of the Southern and Northern Dynasties all concealed the painting shadow of Zhang Sengyou and were influenced by him. In his Buddhist paintings, ladies-in-waiting are short and gorgeous, and warriors blend in. This typical image is still one of the most important images in many murals in the Tang Dynasty. Later generations regarded Zhang Sengyou as one of the "Four Great Painters". The so-called four great painters refer to Gu Kaizhi, a famous painter in the Eastern Jin Dynasty and his student Lu Tanwei, Zhang Sengyou, a painter in the Southern Dynasties, and Wu Daozi, a painter in the Tang Dynasty. Among the four ancestors, Zhang Sengyou is a key figure connecting the preceding with the following. In the literature of past dynasties, 23 temple murals he painted were recorded, as well as his treasures handed down from ancient times and its increasingly far-reaching influence. Yang Huizhi, the most famous sculptor in Tang Dynasty, and Wu Daozi, the painter's "Five Stars and Twenty-eight Dwellings"
All directly inherited his style. There were ballads in the Tang Dynasty; "Taoist painting, the plastic of wisdom, laying monk gravel wrote" to the point. Zhang Sengyou, the finishing touch, will always occupy a glorious position in the cultural history of the Chinese nation.