In other words, time and space passed, and the painting was transferred to Qianlong, who lived in the palace. It was immediately attracted by the forest weather in early spring, so it inscribed the poem "The tree is frozen around Shiyexi, and the pavilion is on the top". Without the embellishment of willows and peach blossoms, the spring mountain sees steam early. "The calligraphy is exquisite and refined, showing the early spring scene in the painting to the fullest, and the poems and paintings complement each other. It's really a bosom friend dialogue that spans time and space.
Let's look at the rocks first. The main peak in the distance stands tall, "the mountain is the master of the mountain." The abyss is steep and verdant, the valley bottom is far-reaching, the nearby left and right peaks are almost symmetrical, the branches are coiled, and the prospect is flat and reappearing. The color gradually increases from far to near, and the dry and wet shades of ink and wash contrast the texture of rocks in different positions. The combination of reality and reality makes the whole opening and closing moderate, magnificent and full of interest.
Guo's painting skills are profound, and his son later summed up his painting experience and wrote Lin Zhi, which systematically recorded Guo's landscape painting creation experience and artistic opinions, which is precious. Ancient painters have always paid attention to observing nature, that is, observing nature, adding creative artistic thinking to aesthetic observation, so that they can "vividly remember" when creating, so he said: "The smoke of real mountains and rivers is different in four seasons. The spring mountain is as plain as a smile, the summer mountain is as green as a drop, the autumn mountain is as bright as makeup, and the winter mountain is as bleak as sleep ... This mountain looks like this from a distance, and it looks like this from a distance ... Every distance is different, and the so-called mountain shape moves. " Look at this mountain in early spring. The peaks are distinct in primary and secondary, with different distances, shapes and colors. "One mountain means hundreds of mountains at the same time", and the atmosphere of mountains is hazy, which contains a kind of vitality that everything is about to sprout.
The rocks are outlined with zigzag lines, and then brushed with pen and ink, showing the effect of dry and wet shades. This painting method is called "inch". Guo's brushwork is not as dull as the landscape paintings of the northern school, nor as soft as the landscape paintings of the southern school. It seems to be a combination of the two, and the whole is arbitrary and round.
Looking at trees and water again, Guo believes that "mountains take water as blood, vegetation as hair, and smoke as spirit." So mountains live by water, lush by vegetation and beautiful by smoke. "Look at the trees scattered on the rocks in the picture, the cliffs in the distance are flying, and the nearby ones are tall and strong, showing a resilience that will survive the cold winter and will soon be resurrected." Changsong is graceful, it is a table of many trees. " The branches have not sprouted yet, and there is no pink-green background. It is a mystery that "the grass looks close, but it doesn't". The outline of the trunk is changeable, the light ink knot still exists, and the branches are vertical and horizontal, especially the shape of crab claws, which makes the picture interesting. The use of cirrus clouds and crab claw branches follows the characteristics of Li Cheng School in the early Song Dynasty, but it is more rounded, so the trees in the early spring in the painting have that kind of chilly posture, which seems to be dry, and the vitality inside the branches is budding.
Shining with the trees is the shaping of water. Guo left a blank in the lower part of the painting. The wooden boat on the left, the fisherman on the right and the stream flowing down in the middle on the right all indicate the melting of ice and snow. Confucius also said that "the benevolent enjoys Leshan, and the wise enjoys water". The massiness of the mountain blends with the agility of the water, and the obscurity of the water and the density of the mountain are brewing the recovery of all things on the earth. What an early morning!
Finally, let's look at the characters in the painting. Guo believes that landscape painting is "feasible, promising, tourable and habitable", that is, the best landscape painting can make people live in it. Although exaggerated, it also reveals the highest direction of landscape painting creation, that is, it can put people's tired hearts in. Therefore, Guo set up several groups of characters in this early spring picture, which made the picture more simple and narrowed the psychological distance between the painting and the appreciator. Guo's brushwork is really delicate. Compared with mountains and valleys, the proportion of characters is very small, but after enlargement, the characters are full of movement and lifelike.
First, there is a boat tied to the river bank in the lower left corner. A mother on the shore is holding her child and looking back at the porter. The children next to her are following the cheerful puppy in front, a warm scene that just got off the boat and was ready to go home. Secondly, at the bottom right of the picture, two fishermen are working hard for their lives.
There is also a group of pedestrians marching in the mountains in the left middle school. Looking along the upper right of their journey, there are several pavilions looming on the other side of the mountain, which was said by Emperor Qianlong. Are they going there? Is it a pure and peaceful paradise? On the hill to the right of the pavilion stands a gazebo for passers-by to rest and enjoy the scenery in early spring.
To sum up, in the face of the overall situation, let's take a look at what Emperor Qianlong said, "Spring Mountain is steaming". Is it vivid? Mountains, rocks, trees, water and houses are all sprouting life. "Steaming" is a bottom-up rise, and it is a kind of exuberance when everything recovers and spring comes. Judging from this "Early Spring", Su Shi also appreciates this "Early Spring". He once said: "Yutang hides in the spring during the day, and Guo paints the spring mountain." In fact, Guo understands that "a gentleman loves mountains and rivers" is to "please people", so he has always advocated that people need to maintain a "heart of nymphs" in painting theory, because a delicate and soft heart will make you understand that even a small climate change can bring emotions ~