The Tang Dynasty is a historical period of social opening, and it is precisely because of this open policy that the economic, political, military and cultural aspects of the Tang Dynasty society have made great progress. From the sociological point of view, social openness refers to the two-way exchange process of material and energy information between a social system and other social systems. In this regard. The social opening in the Tang Dynasty was first manifested as opening to the outside world, that is, exporting its own excellent culture while absorbing foreign cultural factors.
The absorption of foreign cultural factors in the Tang Dynasty is mainly manifested in the following five aspects: ① Politically, the Tang Dynasty adhered to the concept of "integration of Chinese and foreigners", which not only allowed people from all countries to study, preach, do business and live in China, but also absorbed many foreign people (Japan, Silla, North Korea, Persia, Sogdian and India) to be officials in the court. Many countries established diplomatic relations with the Tang Dynasty, which was called tributary relations at that time. According to incomplete statistics, there are more than 70 such countries except neighboring countries. It also includes many distant countries, such as Tianzhu, Tuhuoluo, Fuwa, Dashi and Lin Yi. (2) In terms of science and technology, the Tang Dynasty also opened its doors and accepted and absorbed many advanced foreign science and technology, especially in astronomy, calendar, medicine, pharmacy and mathematics. Sui Shu's Annals of Classics and Records alone contain 60 volumes of foreign astronomical calendar works translated into Chinese and 57 volumes of foreign medical works. In addition, a large number of foreign drugs and medical prescriptions were introduced into China in the Tang Dynasty. For example, the newly revised Materia Medica and Materia Medica Supplement in the Tang Dynasty included many medicines from Tianzhu, Byzantium, Arabia and other countries and regions. Many foreign medical prescriptions have been included in China's medical books, such as "A Thousand Gold Prescriptions", "A Thousand Gold Prescriptions" and "The Secret Recipe of Foreign Taiwan". (3) In mathematics, Tianzhu's usage of "zero" and pen algorithm were also introduced to China in the Tang Dynasty. As for foreign astronomers who held official positions in the Tang Dynasty, it is very common for foreign doctors to practice medicine in all parts of China. (4) In terms of cultural customs, the Tang Dynasty also absorbed many foreign things, whether it was music and dance, grotto statues, painting art or spoken language. There are many external factors, such as clothing, diet, sports, entertainment and so on. This not only greatly enriched the cultural life in China, but also changed some customs in China to some extent. (5) in terms of religious beliefs. In addition to the further development and peak of Buddhism in the Tang Dynasty, other religions, such as Nihuijiao, Nestorianism, Zoroastrianism and Islam, were introduced to China first and then. The Tang Dynasty adopted a policy of "tolerance and accommodation" for these foreign religions, allowing missionaries to set up temples and churches in various parts of China and to preach freely within a certain scope.
In terms of exporting excellent culture to the outside world, the Tang Dynasty also had no reservations. At that time, many countries in the world were more or less influenced by the culture of Tang Dynasty. Among them, the most influential countries are the so-called "East Asian Han Cultural Circle", such as Japan, South Korea, Silla, Baekje and Vietnam. These countries were deeply influenced by the Tang Dynasty not only in political system, laws and regulations, production technology, living customs, religious beliefs, literature and art, but also in written language and academic thought. Three countries on the Korean peninsula and Vietnam also directly used Chinese characters. Although Japan has created its own characters, it has also been transformed on the basis of Chinese characters, and some of them also contain many original Chinese characters. Some scholars have pointed out that the biggest feature of the so-called Chinese cultural circle countries is that they have implemented Chinese character education and Confucian education like China. In addition, countries in Central Asia, West Asia and South Asia were even as far away as Europe at that time. Although they were not influenced by China culture like East Asian countries, the influence of the Tang Dynasty on them cannot be ignored. For example, China's production technologies such as papermaking, silk weaving, gold and silver ware manufacturing and gunpowder spread to West Asia, Europe and Africa in the Tang Dynasty.
two
Social opening is not only the mutual opening between different social systems, but also the mutual opening between different parts within the same social system. Judging from the research results obtained so far, the Tang Dynasty did open to the outside world and to the inside world, and the two aspects of opening up also promoted each other. (1) The Tang Dynasty implemented a policy similar to national autonomy for all ethnic groups in China, that is, the so-called county system, in which chiefs or kings of ethnic minorities served as chiefs. We can inherit and maintain the original tribal system, but we must fulfill certain political, military and economic obligations to the Tang Dynasty and obey the leadership of the capitals. (2) Politically, it also implements an open policy, emphasizing the equality of all ethnic groups. A large number of ethnic minorities hold senior positions in the central or local governments, and many even reach the high position of prime minister. According to the statistics of New Tang Book, there were 369 prime ministers in the Tang Dynasty, including 24 ethnic minorities, accounting for about 6% of the total prime ministers. Considering the proportion of ethnic minorities in the total population of the Tang Dynasty, this figure should be said to be quite high. As for the ethnic minorities who served as senior generals in the Tang Dynasty, there were more, such as Li Guangbi, Geshuhan, Buguhuai, Hunjian, An Lushan and Shi Siming. The openness of the central government to ethnic minorities in the Tang Dynasty was unprecedented in the history of China. (3) Economically, all regions in China are also open, and there was no business tax in the Tang Dynasty for a long historical period, which is of great benefit to economic exchanges between regions. The mutual trade between the mainland and various ethnic groups is also very prosperous. In addition to official trade, folk trade between ethnic groups is also very frequent. A large number of businessmen of all ethnic groups are active all over the country, and there are also a large number of minority businessmen in Chang 'an, the capital of China. The Tang dynasty even gave special care to businessmen of some ethnic groups. For example, in view of the fact that Uighurs helped the Tang Dynasty to quell the "Anshi Rebellion", it was decided that in addition to the silk and horse trade that must be carried out every year, "county officials should give Uighur businessmen a gift every day to nurture their goods and open houses and return them to stores." This frequent economic exchange has effectively promoted the local economic and social development. The interaction of various ethnic groups in production technology, clothing, diet, culture and art, social customs and other aspects has reached an unprecedented height, and the atmosphere of Hu Hua was once popular in major cities in the mainland.
three
The society in the Tang Dynasty was a tolerant society, which was not only manifested in the openness of economy, politics and culture, but also in the openness of ideas. The rulers of the Tang dynasty relaxed their control over speech, which can be said to have created a more relaxed political environment. The monarch has a harmonious relationship with his subjects, is open-minded and is good at coachable. Even those emperors who actively encouraged their subordinates to remonstrate, except the wise emperors such as Emperor Taizong, Wu Zetian and Tang Xuanzong, even some mediocre emperors rarely suppressed their subordinates' opinions, let alone Daxing Wenzi Prison. This is not only reflected in the official scholar-bureaucrat class, but also can tolerate criticism of state affairs and even the emperor's private life among the people. Although the Tang Dynasty respected Confucianism, it allowed other theories to spread freely, and actually implemented a diversified policy of compatibility between Confucianism, Taoism and Buddhism. In terms of social life and social customs, it has also implemented a greater degree of openness. There were more festivals and holidays in the Tang Dynasty than at any time in history. On holidays, monarchs, subjects, people or groups go out, or hold banquets and drink, or sing praises, or visit relatives and friends to fully enjoy the fun of life. The status of women (whether political status, economic status or family status) also improved to a certain extent in the Tang Dynasty, and social taboos were relatively less binding on women. In the Tang Dynasty, women could remarry, wear men's clothes, show their faces in public, even pursue new trends like men, enjoy the fun of Hu Cai, Hu Fu and Hu Le, and even have the freedom to associate with men. It is this tolerant and open social atmosphere. It promoted the comprehensive opening of the Tang Dynasty in other aspects and promoted the high prosperity of the economy and culture of the Tang Dynasty.
four
From the perspective of system theory, social opening is both an acceptance process and an absorption process. It is also a process of sublation. In other words, the output or input of civilization achievements cannot be completely received or even absorbed by its objects. According to this principle. It also fully conforms to the actual situation of social opening in the Tang Dynasty. Take Buddhism as an example. Since it was introduced into China in the Eastern Han Dynasty, it began to be sinicized in the Tang and Song Dynasties. The so-called China is the folk and popular Buddhism in China and the nationalization trend of daily life of monks and nuns. In other words, after a long process of absorption and digestion, Buddhism in China abandoned many factors of ancient Indian Buddhism and joined many social and cultural factors in China. From a philosophical point of view, the process of Buddhism in China is also a process of accepting the traditional culture of China. Moreover, some scholars have suggested that Zen was created by China. Ji Xianlin thinks that this theory is a bit excessive, but it is also reasonable. He also thinks that the development of Zen Buddhism is more and more divorced from the ancient Indian Buddhist tradition, so that it is completely assimilated by China. The so-called "assimilation", the author's understanding is transformed by China culture. Many examples can be cited in this regard. For example, exotic costumes, music and dance, diet and customs were once very popular in the Tang Dynasty, which was regarded as trendy by people, and even women were unwilling to lag behind. Yuan Zhen, a great poet, wrote a poem "Women learn from Hu's makeup and prostitutes learn from Hu's voice", which is a true description of this situation. But later, these things that were regarded as trendy at that time became accustomed to it, and even words such as Le Hu, Hu Shi, Khufu and Hu Su were rarely mentioned. They have been transformed into China's own things, which is the result of long-term evolution, so that people no longer regard them as foreign things.
In the final analysis, this social situation in the Tang Dynasty is a social phenomenon that only occurs in a strong cultural state. A strong culture has a strong control ability, just like a human life system. In the process of material and energy exchange with the external system, it can destroy harmful bacteria through its own immune system, or leave only those beneficial components through its own metabolism, thus making itself stronger. The weak culture does not have such control ability, and it is often assimilated by the strong culture.
five
Of course, the social opening in the Tang Dynasty also had certain limitations. Some of these limitations are caused by historical and geographical reasons, while others are directly related to the policies pursued by the rulers of the Tang Dynasty. Because China was located in a semi-closed continental geographical environment, its domestic land was vast, and agriculture was the mainstay, which made the Tang Dynasty fundamentally lack of strong motivation for foreign exchanges. At that time, the Tang Dynasty was very attractive to all countries because of its strong national strength and advanced culture. However, the initiative of the Tang Dynasty in this respect was obviously insufficient. Even if some envoys are sent abroad, it is more to improve political prestige and satisfy the vanity of rulers and the demand for luxury goods. The influence of foreign culture on the tang dynasty. More are also exported by outsiders themselves, rather than actively imported golden soup. Although a few monks went west to seek the Dharma, this behavior of the Tang people was insignificant compared with the behavior of a large number of foreigners entering the Tang Dynasty. This made the social opening in the Tang Dynasty present an unbalanced state.
In addition, in the foreign economic exchanges in the Tang Dynasty, except for private commercial trade, official trade appeared in the form of "tribute", and the economic nature of this trade was far lower than the political nature. In the Tang Dynasty, the relationship between the two sides in trade was defined as "tribute" and "reward" to show their respective advantages and win over each other, while the economic interests in tribute were not the main issue considered by the rulers. So this kind of trade is actually an unequal economic relationship at the expense of domestic economic interests. Of course, this phenomenon is not limited to the Tang Dynasty, but a common problem in the ancient dynasties of China.
The limitation of social opening in the Tang Dynasty is also manifested in the fact that opening to the outside world is weaker than opening to the inside. Taking commerce as an example, the Tang government encouraged foreign businessmen and businessmen to do business in the Tang Dynasty and gave them various preferential conditions. However, the development of local businesses has been limited. The concrete manifestations of this policy of "emphasizing agriculture and restraining business" are: prohibiting businessmen from entering the official position, prohibiting officials from doing business, and even prohibiting businessmen from riding horses; Implement a strict system of going abroad for business. In addition to strict examination and approval of their identity information and belongings, it is also clearly stipulated that "brocade, silk, silk, cotton, silk, cloth, yak tail, pearls, gold, silver and iron, etc. are not allowed to go to the west, north and border States." This has greatly affected the smooth development of Chinese and foreign trade. In short, looking back at the social opening in the Tang Dynasty, we should not only pay attention to its distinctive characteristics, but also face up to some shortcomings and limitations. Only by fully evaluating these two aspects can we make an objective and comprehensive evaluation of the social opening in the Tang Dynasty, sum up experience and learn lessons.
Celebrities in Tang dynasty
Poet Fairy: Li Bai's poems are full of positive romanticism. The Tang Dynasty poet He admired Li Bai's poems and compared him to a "fairy" who fell from the sky. After the tribute, people called Li Bai "the Poet Fairy". Poet Saint: The poems of Du Fu, a poet in the Tang Dynasty, are vigorous, colorful, implicit, ideological and artistic. Many poets in the past dynasties regarded his poems as a model of learning and respected him as a "poet saint". Poet's Magic: Bai Juyi, a poet in the Tang Dynasty, wrote poems very hard. As he himself said, "the drunkenness is not in the wine, but in the afternoon." Excessive reading and writing lead to tongue and finger pain. Therefore, it is called "poet magic". Shi Gui: Li He is a versatile and short-lived poet in the Tang Dynasty. His creative ideas are strange, his artistic conception is grotesque, and his artistic conception is vague and elusive. Song Wei Qingyun: "Taibai is a fairy, but a talent for long-term workers." Therefore, it is called "Shi Gui". Shi Fo: Wang Wei is a representative of poets in the prosperous Tang Dynasty. He is good at music, painting and calligraphy, especially at splashing ink on mountains and rivers. He is known as the ancestor of Nanzong. Its brushwork is beautiful and elegant; His poems are quiet and distant, full of Zen and painting. In his later years, he devoted himself to worshipping Buddha and was called "Shi Fo". Su Dongpo commented that "there is a picture in poetry and a poem in painting", too.
Value orientation of taking fat as beauty
Sui and Tang Dynasties: Elegance, Abundance, Health and Nature
Elegance, wealth and health naturally become the dominant standard of beauty. The beauty of a woman's body is that her forehead is wide, her face is round and her body is fat. Health is a kind of female beauty that people appreciated at that time. During this period, women's clothes were quite exposed, and in modern western countries, they tended to be "sexy".
From the Wei and Jin Dynasties, female beauty began to gain independent value and was appreciated and cherished. Xun can once said that "women's virtue is insufficient, and sex is the main thing." Encouraged by this declaration of virtue independence, women began to consciously pursue beauty. Most women in this period wore long-sleeved and short-sleeved dresses. The waist is tied tightly with a "waist hug" and decorated with a belt. At that time, it was also popular to wear flower pins and "walk" on the head, which made the clothes flutter and the rings jingle, further emphasizing the gentleness and charm of women. In makeup, the most popular thing is to point a red or yellow "flower" on the forehead as a decoration. "Flowers" have different shapes, mainly leaves or flowers. When Mulan returned from the army, "the window decorations are clouded and the mirrors are painted yellow" is the embodiment of this decoration.
The Tang Dynasty was the heyday of China's feudal society, with strong national strength, prosperous culture, opening to the outside world, relaxed domestic conditions and relatively few female constraints. Therefore, the beauty of women correspondingly presents a scene of elegance and luxury. In the Tang Dynasty, women's plump figure is the beauty, with towering bun and fluttering satin, which is gorgeous and generous, fully embodying the "prosperous weather of Tang Dynasty" in female beauty. Their clothes are the boldest and sexiest among women in China. This point can be confirmed in the famous painting of the Tang Dynasty, The Picture of Zanhua Ladies. The woman in the painting has fluffy clouds, huge broken flowers, hairpins, a thin tulle coat and tulle-painted silk. Her underwear was half exposed, with a lot of dizzy flowers on her head and bare arms. This sexy dress is unprecedented in ancient China.
Women in the Tang Dynasty were extremely free to dress, with wide sleeves and narrow sleeves, all of which followed suit. Therefore, women at that time still wore Hu clothes, lapels and narrow sleeves, and a belt was tied around their waist, with various metal ornaments hanging on it and striped narrow-leg pants inside. In make-up, women in the Tang Dynasty were popular in painting dim moth eyebrows, and the eyebrows that rose high added to women's charm.
Fang Zhou
Zhou Fang was born in Jingzhao (now Xi, Shaanxi) in the Tang Dynasty. Born in a bureaucratic family, he served as two governors of Yuezhou (now Shaoxing, Zhejiang) and Xuanzhou (now Xuancheng, Anhui), ranking second only to a prefecture magistrate. Zhou Fang was able to get this position because of his brother's position, and his brother Zhou Hao made a meritorious military service with Ge Hanshu's expedition to Tubo Keshburg.
Zhou Fang's artistic activities lasted for thirty or forty years, that is, from Dali to Zhenyuan (766-805), and their activities were mainly concentrated in Chang 'an and Jiangnan. Zhou Fang's official career and aristocratic status made him wander among aristocratic children for a long time, so he had the opportunity to accept Zhang Xuan's painting themes and artistic techniques. He "came to Zhang Xuan first, but later he was slightly different" (Notes on Famous Paintings of Past Dynasties by Tang Yanyuan). Zhou Fang's painting style is so similar to Zhang Xuan's. Later generations should distinguish his works from the "small difference" that Zhou Fang is not in his wife's ear. In fact, there are many innovations in Zhou Fang that Zhang Xuan does not have.
Zhou Fang is not as good at painting as his teacher Zhang Xuan. Good at painting ladies, portraits and Buddha statues, limited to all branches of figure painting. But Zhou Fang has many unique artistic features. He created "Shui Yue Guan Yin" with a rigorous attitude, and painted Guanyin under the moon at the water's edge, which is quite artistic. This is not only imitated by painters, but also becomes the modeling style of sculptors, which is very popular. More importantly, later generations regard the figure paintings, especially the paintings of ladies and Buddha statues, as "Zhou family painting style", which is juxtaposed with "Cao family painting style" (created by Cao in the Northern Qi Dynasty), "Zhang family painting style" (created by monk You in the Southern Dynasty) and "Wu family painting style" (created by Wu Daozi in the Tang Dynasty), and is collectively called "Four Family Painting Styles".
The appearance of "Zhou Jiafeng" indicates that the artistic achievements and artistic status have surpassed Zhang Xuan, which also shows that the painting art has a deep mass foundation. The appearance of "Zhou Jiafeng" is closely related to Zhang Xuan's artistic preparation. More importantly, before this, both court painters and folk painters had formed a certain program in the modeling of ladies' paintings, and had reached a quite mature level in the expression languages such as description, color setting and composition. For example, the female images on many murals in Dunhuang during the prosperous Tang Dynasty were the source of Zhou Fang's figure painting, and there was also cross-influence between Zhou Fang and folk painters. Therefore, it can be said that "Zhou Jiafeng" is not what you think, but has a deep social foundation and a strong artistic foundation. "Zhou Jiafeng" is a summary, concentration and refinement of the artistic language with development foundation among sages and contemporary painters, and it is inevitable that it will be regarded as a model of figure painting by contemporary people and future generations.
From the following two stories, we can find out how Zhou Fang outshines others and is widely praised in art. Although Zhou Fang is the son of a nobleman, he attaches great importance to listening to the opinions of the lower class on improving his painting skills. On one occasion, Zhou Fang was instructed by Tang Dezong's Shi Lizhi to draw a portrait of Zhang Jing, a temple god, which immediately attracted thousands of people from Beijing to watch, some of them were brilliant and some were full of flaws. Zhou Fang was able to listen to the revision opinions with an open mind, and changed them day by day. It took more than a month to stop writing until everyone saidno. Zhou Fang's portrait revealed the spiritual essence of the characters better than his peers. According to legend, Zhao Zong, son-in-law and assistant minister of the famous Tang Dynasty Guo Ziyi, invited Han Gan and Zhou Fang to paint his portrait. After painting, Zhao Zong put the portrait aside, and it was difficult to decide whether it was good or bad. After returning to the mansion, Mrs. Zhao commented: "The two paintings are similar. The former painter is as ethereal as Zhao Lang, and the latter painter moves his posture, which makes Zhao Lang laugh. " Zhou Fang's unique artistic skills are revealed in one sentence.
Zhou Fang not only digs deeply into the souls of the characters in the portraits, but also skillfully shows the mentality of all kinds of ladies in the palace in silk books, such as melancholy, sadness, lament, melancholy, resentment, etc., which generally shows the mental state of ladies in the Tang Dynasty after the "An Shi Rebellion". This is also a microcosm of the decline of the Tang Empire, which reflects Zhou Fang's sense of hardship and sympathy for the ladies imprisoned in the palace, and deepens the theme of Zhang Xuan's paintings of ladies. Zhang Xuan and Zhou Fang lived before and after the "An Shi Rebellion" respectively, and the differences of the times are inevitably reflected in the female mental outlook in their ladies' paintings.
Zhou Fang's ladies' paintings represent the mainstream style of ladies' paintings in the middle Tang Dynasty. The female images in his works are plump, with curved eyebrows and eyes, full cheeks and skin and bones. Clothes are all made by women, which are simple and colorful. His paintings reflect the monotonous and lonely life of ladies-in-waiting, such as flapping butterflies, flying kites, playing games, waving fans, playing music and bending over (yawning). In the Northern Song Dynasty, 72 of his paintings were recorded in Xuanhe Painting Spectrum, which have been lost to the world. Unfortunately, Zhou Fang has no copies handed down from generation to generation, and there are still some ancient paintings handed down as his masterpieces. The so-called "biography" refers to the reliable appraisal opinions of predecessors and the long-term collection and record history. Although there is doubt, it is similar to Zhou Fang's conception and painting style, and similar to or not far from Zhou Fang's life time. For example, The Picture of a Lady Wearing Flowers, The Picture of a Lady Rocking a Fan, and The Picture of a Lady Tuned the Piano represent the unique painting characteristics of Zhou Fang. The other is Gong Tu, whose painting style is different from the above three, but it is widely spread, which can help us understand the painting style similar to that of the times. As for "The Story of My Wife's Two Lands", it was originally circulated in Zhou Fang, and now it has been identified as a copy of the Song Dynasty.
The artistic influence of "Zhou Family Style" was passed on to later generations. His paintings of ladies have long been regarded by the critics at that time as "the highest painting in the ages" (Tang Zhujing announced the Record of Famous Paintings in Tang Dynasty). Almost all the ladies painters in the late Tang Dynasty are in the stage of sticking to the "Zhou family painting style", which controls the ladies painting circle in the late Tang Dynasty. By the Five Dynasties, this artistic model remained in the active Jiangnan area of Zhou Fang, such as Li Jing and Li (958-975) in the Southern Tang Dynasty, who spread the art of painting ladies to Zhou Fang. Ladies models in the North of the Five Dynasties tend to be exquisite, such as the Fairy Map of Yuen Long by Ruan Gao from the Five Dynasties to the Northern Song Dynasty. The images of ladies in the Northern Song Dynasty still show the legacy of Zhang Xuan and Zhou Fang in appearance, but their figures tend to be slim. During the Southern Song Dynasty, Mou Yi and others were ladies painters who inherited Zhang Xuan's style of painting, and The Picture of Yi Dao (collected in the National Palace Museum) was his masterpiece. In Song Dynasty, many figure painters were influenced by "Zhou Family Style" facial modeling to varying degrees. By the Yuan Dynasty, Zhao Mengfu, by virtue of its lofty position of "Five Glorious Dynasties", highly praised the painting style of the Tang Dynasty inside and outside the Yuan Dynasty, and the ladies' modeling of Natalie and Zhou Fang once again became popular in the painting world. The most outstanding imitator is Yuan Shundi court painter Zhou Lang (1333- 1368). His "Du Qiu Map" is completely derived from the shape of "Zhou Jia", but his works show the elegant and free rhythm of Yuan people. Until the Ming and Qing Dynasties, because the whole society had a fundamental change in the aesthetic view of women, it no longer appreciated the beauty of women in Guanzhong, but instead portrayed slender, slim and thin women in Jiangnan, which was widely popular in scroll paintings. Because the manuscripts of religious murals have been handed down from generation to generation and are relatively stable, the female images in religious themes have more retained the modeling characteristics of "Zhou family style".
As early as the Tang Dynasty, the artistic influence of "Zhou Jiayang" had surpassed that of China, and its artistic charm was dumped by painters in neighboring Silla (now the central part of the Korean Peninsula). During Zhenyuan period (785-805), Silla people went to the active Jianghuai area in Zhou Fang and bought Zhou Fang's paintings at a high price. "Zhou's family style" not only influenced Silla's figure paintings, but also traveled across the ocean to Japan, affecting Buddhist statues in Nara era in Japan, such as the lucky goddess in Tokyo National Museum (figure 1). During this period, the style of Japanese ladies' paintings was more like "Zhou's family style", such as "Bird hair standing on the female screen" in Tokyo National Museum, Japan (Figure 2).
Zhou Fang, a native of Chang 'an (now Xi) in the Tang Dynasty, was a famous painter, Xuan Jing. For xuanzhou's long history. Be good at writing, be able to write, and be good at painting Taoism, figures, literati and women. They are all called gods. Zhang Xuan painted it at first, but later it was slightly different, which was quite charming. Dress well all over the country and stay away from the road. The clothes are simple and colorful. Bodhisattva is strict, and it is wonderful to make the body of Shui Yue. Dezong called to draw a quiet temple. When I put pen to paper, everyone contended for the view, the temple arrived in the country, and the sage was stupid. Those who have quips, or refer to their defects, change them at will, and after the month off, they all lament their exquisiteness, which was the first. There are portraits of the moon and bodhisattva in front of the Buddha Hall of Dayun Temple, a portrait of a Taoist priest, and two portraits of immortals in front of the Buddha Hall of Guangfu Temple, all of which are unique in contemporary times. He also painted literati and women, which is the best in ancient and modern times. Try to draw pictures of butterflies flapping, Zheng bring up the rear, the snow-clad girls' chaos, rocks and so on, and you will get what you want. Guo Ziyi's son-in-law and assistant minister Zhao Zong tasted the portrait of Han Gan, and everyone said he was good. Then ask Zhou Fang to write it. They both have names. The auxiliary instrument and the two columns are really placed on the sitting side, so it is impossible to determine their advantages and disadvantages. When Mrs. Zhao returned to the province, Ziyi asked Yun, "Whose painting is this?" He said "Zhao Langye" and said "What is the most similar?" Both paintings are similar, and the latter one is particularly good. Why did you say that again? As the saying goes, "the former painter looks like Zhao Lang, and the later painter is so angry that Zhao Lang is sincere and playful." Who is the painter? Nai Yun: "Zhou Fang has a long history." It is the day that determines the quality of two paintings. Use it to send hundreds of brocade. At the end of Zhenyuan (785-805), Silla people collected dozens of paintings in Jianghuai at a good price and took them to other countries. For a day with a long history in Xuanzhou, Yun tried to draw a five-star real character. Its star method is Rhythm Book. There is a book about the fairy altar of Magu, which draws a scroll to see the calligraphy and painting of the Forbidden City in Gong Sheng. A picture of a beautiful woman with a hairpin is now in the Liaoning Provincial Museum.
Zhou Fang's "The Picture of Zanhua Ladies"
Zhou Fang's "The Picture of a Hairpin and a Phoenix" is another peak of ladies' painting in the Tang Dynasty. From the comparison of the pictures, after the characters are interspersed, there are some backgrounds that may be inconspicuous but important. There are cranes, small animals, lake stones, flowers and plants. Although it doesn't depict a feasible and practical environment like Gu Kaizhi's "The Goddess of Luo", it seems to be limited to the emotional appeal of garden bonsai, but it is extremely rare to deal with it in the existing figure paintings of the Tang Dynasty. The description, hair rendering and grooming of cranes and puppies are very thoughtful. The crane is completely white, with only faint black ink on its neck. The arrangement of crane wings is from virtual to real, from inside to outside, which shows that the painter's technique of using lines is simple and accurate. Considering that flower-and-bird paintings had sprouted in the middle and late Tang Dynasty, and Xue Ji, Bian Luan and other flower-and-bird paintings were quite famous in the painting world, Zhou Fang's detailed description of cranes and animals seems to have the background of the times when flower-and-bird paintings first flourished.
The greater success of Lady with Flowers lies in its depiction of characters' costumes. In Zhang Xuan's works, we see people in the general sense, while in Zhou Fang's paintings, we will find many special techniques of meticulous brushwork, such as a lady's high bun, which is black and bright. The rendering of black hair is definitely not easy to do well. The requirement of meticulous painting is black but not impetuous, deep and thick. Zhou Fang's rendering just reflects this charm. In addition, the transparent effect of ladies' light gauze, the decorative pattern of clothing, and the white line outlined along the edge line in the dark gauze sleeve are all special techniques rarely seen in meticulous painting before. Even the tail flick and round fan handle are exquisitely carved and exquisite, which can be called meticulous treasure. As for the arrangement of the image size of the main characters and maids on the screen, it seems that it is also based on highlighting the painting purpose of the main characters.
Zhou Fang was summoned by Dezong and painted in Zhangjing Temple. When you put pen to paper, "everyone is competing." The viewer can point out, belittle or praise, and he can change with listening. After the confinement, he was speechless and lamented exquisiteness. "This ability to change paintings just shows that Zhou Fang's ability to improvise is extremely rare.
Self-esteem is better than inferiority, so as to improve continuously.
When learning calligraphy, I always feel that "the eye is superior and the hand is inferior", and I get twice the result with half the effort.
The so-called "eye" refers to the theoretical level and appreciation ability, and "hand" refers to practice and basic skills training. Only when the theoretical level is high and the appreciation ability is high will you feel that your practice and basic skills are insufficient, and you can find the direction of your efforts and guide your practice with theory. On the contrary, there will be no distinction between good and bad, good and bad will not be distinguished, and the status quo will be satisfied and stagnant.
Maintaining the self-awareness of "eyes are superior but eyes are inferior" can also stimulate the enthusiasm of learning books constantly, so as to practice hard, and always want to raise the level of "hands" to the height of "eyes". Learning with direction and practicing with goals will not be aimless. If after a period of hard training, the level of "hands" has reached the height of "eyes" and you are pleased with your achievements, you should further enhance your confidence in learning books and work harder. If you are content with the status quo and rest on your laurels, you must further deepen your theoretical study, improve your theoretical level and appreciation ability, and re-create your self-awareness of "being superior to others" so as not to lose your motivation to drop out of school.
To do this, we must increase the proportion of theory and appreciation courses in calligraphy practice, and carry out it synchronously with basic skills training step by step.