"Cao clothes come out of the water"-a hard and heavy brushwork, and the clothes of the characters painted are close to the body, as if they had just come out of the water. Cao (Beiqi), a native of Cao, is the most skilled worker. He can paint portraits of the Vatican. He painted many buddhas and bodhisattvas, but unfortunately no works have been handed down. However, this style is found in the Buddha statues unearthed in longxing temple. 1996 10 found a batch of 400 Buddha statues at the site of longxing temple in Qingzhou city. The era spans from the Northern Wei Dynasty to the Northern Song Dynasty, which is roughly similar to the Dunhuang Tibetan Scriptures and has the same mystery as the last time of meditation. ) longxing temple's works in the Northern Dynasties embody the famous style of "Cao Yi comes out of the water" in the history of painting.
"Wu Dai in the Wind" _ _ is a round and elegant brushwork, and the clothes drawn by the characters seem to be floating in the wind. Wu Daozi is a Taoist, also known as Daoxuan. The characters painted by Wu Daozi are very distinctive. Unlike Gu Kaizhi and He, Jin people are more dense and sparse than Gu and Lu, and their brushwork is not good enough, but their appearance is lacking and their spirit is complete. He also changed the uniform "iron line drawing" since Gu Kaizhi in the Eastern Jin Dynasty and was good at rhythmic "orchid painting"; It broke through the artistic form of "Cao clothes coming out of the water" in the Northern and Southern Dynasties, and the brushwork turned and the clothes danced, forming a unique style of "Five Dynasties as the wind", which was popular in the times and was called "Wu Family Style". Wu Daozi is good at grasping the vivid law and paying attention to the overall image-building, so women hold furnace murals to the point of "stealing their eyes". Very vivid. His paintings, together with Zhang Xu's cursive script and Fei's swordsmanship, were known as the "three wonders" at that time.
Legend has it that Wu Daozi met calligrapher Zhang Xu and swordsman Pei in Luoyang. Pei asked Wu to make murals for his dead parents in the Tiangong Temple. Wu did not reward gold, but asked Pei to dance with his sword and show his momentum. After the dance, I worked hard and finished it in a short time. Zhang Xu also wrote a wall there. Luoyang people all say, "You can see three wonders in one day." If you want to see Uday Dangfeng, of course, you have to go to Dunhuang.
Similarly, at the behest of Xuanzong, he painted three hundred miles of mountains and rivers of Jialing River in Sichuan. Li Sixun spent several months describing the painting in detail, while Wu Daozi wrote the painting with pungent pen and ink, which took only one day to complete. This is personality.
He is famous for his original Buddhist artistic style "Wu Jiafeng", which makes the "Wu Dynasty as the wind" unique in painting.
The so-called "Five Dynasties when the wind", that is, Wu Daozi painted clothes flying in the breeze, elegant and free and easy; The so-called "full of wind" means that the murals painted by Wu Daozi are full of movement. To put it simply, the characters painted by Wu Daozi are moving and have speed.
In the current martial arts films, it is a kind of "wind-driven" effect to let the actors' clothes flutter with a blower.
But Wu Daozi didn't use a blower. He used a pen.
The word "water shield strip" comes from Mi Fei, a great painter and calligrapher in the Northern Song Dynasty. He described the lines in Wu Daozi's works as "aboveboard, wanton pen, like strips of water shield". The so-called water shield is a kind of Nymphaeaceae plant with round green leaves floating on the water and roots growing in the water. The surface is attached with colloidal mucus, which gives people a very smooth feeling. When Hans Zhang, a writer in the Western Jin Dynasty, was an official in Luoyang, he thought of the water shield, soup and perch in Wuzhong because of the autumn wind, so he resigned and went home on the pretext of missing the water shield and perch in his hometown, and hence the idiom "perch thinking" came into being.
This statement is reminiscent of an advertisement: it's sweet and slippery, don't you want to try it?
This is called synaesthesia in expression. Natural Law, Tao, Tao and Nature
Painting is tangible, but it is also auditory and spiritual.
A good picture should be deeply rooted in people's hearts and reach the other side of the soul.
The difference between "craftsman" and "home" is that a craftsman's hands are his own and his heart belongs to others, so no matter how high his craftsmanship is, how to describe it and how hard he works, he is still a craftsman, but home is different. Sometimes his hand may be someone else's, but his heart will always be his own, so whether he splashes ink or writes casually, he expresses his own thoughts.
On the first day of the first month, I walked into the painting world and stood in front of Wu Daozi's paintings. I was puzzled at that time, because I didn't know if I could read Wu Daozi.
Coincidentally, Wu Daozi's 52nd generation grandson came back. She is a painter.
What she is most proud of is drawing cats. It is said that a cat painting she drew is quite similar to her ancestors, because a Japanese friend who got her "cat painting" said that since she hung it at home, there have been no mice.
At present, there are Wu Daozi Copy, Born of Gautama Buddha, Eighty-seven Immortals Volume and so on. Although I don't know which copy was painted by Wu Daozi, experts think it is close to the painting style of Wu Daozi.
Born of Gautama Buddha is based on the Ruiying Benqi Sutra, which describes the story of the ancestor of Buddhism, Sakyamuni, who was worshipped by the gods after his father entered the temple with him, so it is also called The Birth of Sakyamuni. In the front of this painting, the god who sent his son is depicted as riding a wild animal and running forward. The expression of Songzi God is both nervous and happy. The sitting heavenly king is graceful and slightly meditative. The expressions of the civil and military generals and ladies-in-waiting of both sides also show their own characteristics.
The last paragraph of the painting is the central content of the painting. King suddhodana has a handsome face, holding the newly born Sakyamuni with reverence, and walking slowly with dignity, fully showing reverence. In front of the Sudoku king, there is a picture of a genie kneeling on the ground. Judging from his manner, the monster was caught off guard and terrified, showing a mental state of being completely obedient to Sakyamuni. Following Sudoku King is the beautiful and dignified mother of Sakyamuni, Mrs. Moyev, with a solemn and generous expression, serene and natural.
What makes this story vivid is not the rich changes of the characters' actions, but the psychological changes that these characters "should" when dealing with this extraordinary event. Its great achievement is that although everyone's psychological changes are different, because this extraordinary thing will happen, they still have the same expression feature, that is, piety.
"Although it is temporary, Born of Gautama Buddha did reproduce the style and characteristics of Buddhist painting in Wu Daozi." Ms Wu Na said.
"Wu Daozi painted the Buddha, and the style at that time was called the Wu family. Before that, there were "Zhang's style" Buddhist paintings created by Zhang Sengyou, a Buddhist painter in the Southern Dynasties, and "Cao's style" Buddhist paintings created by Cao, a painter in the Northern Qi Dynasty. Wu Jiafeng is an artistic style of religious paintings in China after Zhang Jiafeng and Cao Jiafeng. Song Dynasty painting theorists say that "Cao Yi emerges from the water", which highly summarizes the characteristics of these two Buddhist painting styles in expressing figures' clothing patterns. Cao Jia's works are no longer visible, but judging from the existing carving style of the Northern Dynasties, most of the figures' clothing patterns are composed of regular vertical lines, and the clothes are close to the body and have obvious sense of volume, so Cao Yi is said to be out of the water. Wu Daozi used traditional line drawing, especially after middle age, to create a vigorous and changeable "water shield strip", which can show the trend of "high edge and deep inclination, curling and fluttering" and produce the artistic effect of "the sky flies and the walls are full of wind". This unique Buddhist painting is called' Five Dynasties when the wind'. "
However, even such a picture scroll was taken away by the Japanese and is now hidden in Osaka Museum, Japan.
The Volume of Eighty-seven Immortals takes Taoist stories as the theme, shows the grand scene of the eighty-seven immortals' travels in a pure line drawing way, and depicts the image of immortals in detail. The brushwork in the picture is vigorous and free, and the lines show infinite vitality. The combination of lines is like running water, full of rhythm. It seems that, in Yue Xian's voice, all the immortals are standing on auspicious clouds, going against the wind and suddenly becoming pious. The composition of the whole picture is complex but increasingly ethereal, even reaching the wonderful situation of replacing rendering with lines. It represents the highest level of line drawing in China in Tang Dynasty.
Eighty-seven immortal scrolls are now in Xu Beihong Memorial Hall, which was preserved by Mr. Xu Beihong with all his savings. There is no author's name and inscription on the picture. How did you get down? This is an eternal mystery. 1937, when Xu Beihong held an art exhibition in Hong Kong, he was introduced by a friend and accidentally "pleasantly surprised" by a relative of a German diplomat in China, and immediately bought it back at a large sum of money. He commented: "The scale of this volume is beyond the dreams of modern people. This is a great nation, and the spirit inspired by the prosperity of culture is also the embodiment of wisdom. " Since then, I have regarded it as a masterpiece for a long time.
1942, this picture scroll regarded as "the sadness of life" disappeared in a Japanese air raid in Yunnan. This fatal blow made Xu Beihong fidgety and worried day and night that the national treasure would be exiled overseas again. After two years, he suddenly got the news that the scroll appeared in Chengdu, so he immediately bought back the Eighty-Seven Immortals Volume through his friends at a high price. But at this time, Xu Beihong's inscription and seal on the scroll were cut off. Xu Beihong, who got the treasure, was so happy that he wrote a long postscript, asking Qi Baishi to write the names of the volumes respectively. Zhang Daqian and Xie wrote an afterword, which was re-mounted by famous painters to increase the number of volumes.
Draw people's hearts, draw ghosts and shake people.
Painting modeling should be both similar and spiritual. Without shape, the spirit seems to be out of order; If there is a likeness but no likeness, painting will become rigid, and there will be no business, so painting is more important to have gods.
Taking away people's souls is actually the role of "God".
"Pen spirit, specializing in a family", Wu Daozi has a set of refined kung fu, painting, full of passion, often "bending the arc is quite sharp, planting columns and beams, not false ruler", freedom to the extreme. When you draw a figure, even if it is a huge work, you can "start from the arm, or start from the foot" and "echo the body and fruit", so as to achieve the effect of "skin and vein connected".
Zhang Yanyuan's explanation of Wu Daozi's performance is "to guard his spirit, specialize in one thing, combine the merits of nature, fake Wu Sheng's pen, save his pen before the so-called meaning, and paint with all his heart". Xu Qin said in the Preface to Characters in the Book of Painting in the Ming Dynasty: "(Painting) is implicit, the form comes first, and the charm is very different."
Wu Daozi's artistic style of painting has opened up a new road for China's painting.
The figure paintings before Wu Daozi, such as Gu Kaizhi and Lu, all paid attention to meticulous brushwork. Wu Daozi, on the other hand, changed the conventions of his predecessors, and often "the pen is just one or two, and the image has come true", which is a brand-new painting art style-sparseness. At the same time, he also created many unprecedented painting techniques.
Wu Daozi's The Wind in the Five Dynasties uses his own Liu Yemiao, the description of dates and stones, and the water shield, which has a strong sense of movement, and reflects the changes of things' texture, light and shade, concave and convex through the thickness of lines and the changes of dry and wet. Some of Wu Daozi's works even adopt the technique of "sketching", which is called "sketching". Although these works are as simple as "ink", they make future generations "unable to add color".
Wu Daozi's colorful paintings are not as colorful as ordinary works at that time. Guo said in "Illustration: On the Coloring of Wu Sheng": "Taste the axis of mural painting, and put pen to paper to simplify the color", "Up to now, the painter has lightly painted painters, which is called Wu Zhuang". As for "Wu Zhuang", Dong Tang in the Yuan Dynasty also had a similar exposition in "Flower Room": "A little dye in the scorched ink marks naturally surpasses the plain, which is also called Wu Zhuang." Wu Daozi initiated the painting style of simple colors in the prosperous Tang Dynasty.
Wu Daozi's paintings are actually not paintings in the general sense. it