In the history of ancient painting in China, the first batch of painters with clear historical records appeared in the Wei and Jin Dynasties, and they enjoyed a high reputation for their painting skills. They are no longer painters or literati in legends and stories, but they also have painting names. They are Cao Buxing in Soochow, Zhang Mo and Jiankanghui in Western Jin Dynasty. The appearance of this group of painters marks a new stage in the development of painting art.
Cao Buxing enjoys a high reputation in Wu Dong. It is said that he can draw a picture on 50-foot-long silk in an instant, and the proportion of his head, body and limbs is not wrong. Although there are no his works, we can also get a glimpse of his talent from these legends. The Buddha statue painted by Cao Buxing is a manuscript, which was introduced from the Buddhist monks' association in Central Asia (Samarkand). He once drew a fly by mistake with the ink on the screen, which led Sun Quan to think it was a real fly and play it with his hand, so it was a beautiful talk. Cao Buxing is more famous for painting dragons, and the original paintings of dragons are still preserved in the Tang Dynasty. But Cao Buxing's works are mainly figure paintings, especially Buddhist portraits. Cao Buxing is considered as the earliest famous Buddha painter in the past.
Wei Xie and Zhang Mo were called "painting saints" at that time. The reputation of the Health Club is particularly high, and it has been praised by painters and critics such as Gu Kaizhi in the Southern Dynasties for many times. Sheikh even thinks that the health association is of epoch-making significance. "Ancient paintings are all sketched, and they are fine from the beginning. Six methods at the same time is good. Although it should not be shaped, it is wonderful and charming. Ling straddles the crowd and is a great man. But their works were rare in the Tang Dynasty. As far as the titles of recorded works are concerned, most of them are historical story paintings, and some Buddhist paintings.
Si Mashao, Xun Xu, Shi Daoshuo, Wang Xun, Sheikh, etc. In East Jin Mingdi.
The themes of their works, such as Jing Ke, Queen Mother of the West, Mu, Book of Songs, Lienv, etc., are obviously inherited from the Han Dynasty. Part of it is the expansion of the theme of the Han Dynasty, such as: Luoshen Fu map, Jingu Garden Forest map, Sandu Fu map and so on. Mostly historical legends and customs. But there are also some statues of celebrities and immortals, reflecting the popularity of Taoist thought at that time.
Buddhist History and Grottoes Statues in the Northern Wei Dynasty
In 386 AD, the Xianbei people called themselves "Wang Wei", established the Northern Wei regime, annexed the tribes in northern Shanxi, and then attacked most parts of Hebei Province and parts of Shandong and Henan, plundering a large number of people and wealth. Since 398 AD, Pingcheng (now Datong, Shanxi) has been its capital, calling itself the emperor. The population plundered by Tuoba family in Hebei and Shandong was forced to migrate to the sparsely populated Pingcheng area. Among these people are craftsmen who are as familiar with various skills as Jiang Shaoyou; At the same time, Buddhism, which had been circulating in Hebei for a long time, began to spread from Zhao Yan to Pingcheng, and played a role with the consolidation of the Northern Wei regime. During the Tuoba Si period in Yuan Di in the Ming Dynasty, Buddhism was advocated, and "Beijing is surrounded by elephants. It also makes shamans suitable for guiding folk customs "(Shu Wei, Volume 4, Shi Lao Zhi). France, a monk from Hebei Province, also clearly declared that the emperor was "Tathagata today" and that the monk should also pay tribute to him.
Liangzhou (now Gansu, including Dunhuang area) has been cool since ancient times. Buddhism developed greatly during the opening of this railway in 30 1-376. In 397 1439 AD, Liangzhou was the place where many famous Buddhists lived in Beiliang when the Xiongnu occupied Zhangye. For example, Tan Without Repentance, who came from Central Asia and translated a lot of Buddhist scriptures, founded his own Gao Xuan School in Maijishan. Xuanshao is a student in Gao Xuan who has lived in Bingling Temple for a long time. They are all famous monks in Liangzhou. Today, the Manjusri Mountain in Jiuquan still preserves the Buddhist relics of the Ququ period. In 439 AD, Emperor Taizu of the Northern Wei Dynasty wiped out the cold and moved 30,000 (or 100,000) families and officials of the Juqu family to Pingcheng. It is said: "Shaman Buddhism is all in the East, such as Buddhism." ("Shu Wei Shi Lao Zhi")
During the period of Emperor Tuoba-tao, Taoists used conflicts within the ruling class to gain the trust of the emperor, and once adopted a policy of rejecting Buddhism to "destroy the law". During the extinction period (AD 446-452), Buddhist scriptures were destroyed, monks were forced to return to the secular world, and Gao Xuan was also killed.
After Wen Chengdi Tuoba GUI ascended the throne, he ordered the restoration of Buddhism in December of the first year of Xing 'an (AD 452). The monk Shi Xian and Yao Tan, who were hidden in the process of Buddhism's demise, successively took the post of commanding Buddhism. This position was first named "Daotong" and was appointed by Shi Xian. After the death of Shixian (AD 460), Yao Tan took its place and renamed it "Samoan Series". Shi Xian and Yao Tan are both monks in Liangzhou. In the same year when Buddhism was restored, a stone Buddha was carved according to Tuoba GUI's figure. It is said that the black spots on the face and body of the stone statue are the same as those on Tobaron. In the first year of Xingguang (AD 454), it was ordered that five giant statues of Sakyamuni, all six feet high and 25,000 Jin of red gold (copper), be cast for the five emperors from Tuobajun in the Fifth Hall. All these actions show that the popular idea in the Northern Wei Dynasty was that the emperor was Sakyamuni, and Buddhism and politics were closely combined at that time.
After Yao Tan became a Samoan Sect (AD 460), he obtained the right to exploit farmers for Buddhist temples, and asked the emperor for a part of his household registration as a "monk's special account" (60 households welcome visitors to Nagu every year) and a "floating figure household" (serving Buddhist temples and engaging in productive labor). Translated some Buddhist scriptures; His greatest work in Buddhist activities was to preside over the creation of Yungang Grottoes, which are world-famous and have an important position in the history of ancient sculpture art in China.
Wen Chengdi Tuoba Gui's father (Tuoba Hong) and son (Tuoba Hong) both believed in Buddhism, made friends with monks, and thoroughly overhauled their "merits". In the year of his son's birth (the first year of Xing Dynasty, AD 467), Tuoba Hong built Yongning Temple in Pingcheng, and a seven-level floating picture (seven-story pagoda) was built in the temple, with a height of 300 feet. It is said that "the pedestal is spacious and the first in the world." He also built a statue of Sakyamuni in Tiangong Temple, 43 feet high, with red gold100000 Jin and 600 Jin of gold. Soon (around 469 AD), a three-level stone relief map with a height of ten feet was built, and the upper and lower parts were made of stone according to wooden buildings. In 47 1 year, he abdicated to his son, Emperor Xiaowen Tuoba Hong, and became a devout believer who actively advocated Buddhism as the father of the emperor. Therefore, under his influence, Buddhism and Buddhist art in the Northern Wei Dynasty developed greatly.
Emperor Xiaowen TaBaHong attached great importance to the spread of Buddhism and the discussion of doctrines. He continued to build grottoes in Yungang. At the same time, he actively pursued the policy of sinicization in politics and moved the capital to Luoyang (AD 493). As the capital of the Northern Wei Dynasty, Luoyang became an important center of northern Buddhism from the end of the 5th century to the beginning of the 6th century.
After Emperor Xiaowen moved to Luoyang, he not only gathered some learned monks who were proficient in Buddhism, but also built a large-scale grotto in Longmen, Luoyang, modeled on Yungang. The construction of Longmen Grottoes lasted for 50 years. In the Northern Wei Dynasty, the royal family, Emperor Xiaowen Feng, Tuoba GUI, their empress Hu (often called empress in history books) and some nobles were fanatical Buddhist believers. In order to atone for his death and repair the afterlife, under this belief, Luoyang and other places have reached a climax by building Buddhist temples and pagodas and carving Buddha statues.
Xuan Wudi Tuoba GUI made six statues in Jingshan Mountain in Hengnong, and in the third year of Yongping (AD 5 10), he entered the temple near Luoshui. Ursa Major, Jingming Temple and Yongming Temple were established in Luoyang. Eta Ursae Majoris Temple has a five-story floating map, 50 feet above the ground, and there are more than 500 houses where nuns live. There are more than a thousand Jingming Temple and Yongming Temple. Jingming Temple was once described as "restoring the temple and making friends with thunder." Qingtai is connected with Ziting and Floating Lane. Although it's four o'clock outside, there's no heat or cold inside. Outside the eaves, there are ponds. Pine, bamboo, blue, upright post. There is wind and dew, fragrant and fragrant "(Galand, Luoyang). During the light years, Queen Hu Ling made a seven-story floating map, which was 100 feet above the ground. Yongming Temple was built for foreign monks, and it can accommodate more than 3,000 people. In the first year of Xiping (AD 5 16), according to the old system of Pingcheng, Yongning Temple was also built in Luoyang, with nine floating pictures that can be seen thousands of miles away. There are 120 Jin Duo and 5400 gold bells on it. On windy nights, bells can be heard more than ten miles away. The Buddhist temple in the north of Futu is similar in appearance to the "Taiji Hall" in the main hall of the palace. Among them, there are eight golden statues, ten golden statues of medium length and three embroidered beads, which are woven into five. Therefore, Yongning Temple is a huge Buddhist building that is rare in history. By the end of the Northern Wei Dynasty, the number of Buddhist temples in Luoyang had reached 1367, which was severely damaged after the rebellion in Yin He (AD 528). In the fifth year of Wuding (AD 547), the Luo Yang seen by Yang Jie had declined greatly, but there were still 42 temples1seat. Yang Xuanzhi once wrote a book he saw, Galand, in Luoyang.
At the end of the Northern Wei Dynasty (about 500-540 AD), the custom of building Buddhist temples and Buddha statues, represented by Longmen Grottoes and Yongning Temple in Luoyang, spread to various places, with more than 30,000 Buddhist temples and 2 million monks and nuns.
At the end of the Northern Wei Dynasty, grotto statues were widely built in various places, among which the more famous and important ones are: Dunhuang Mogao Grottoes in Gansu, Yongjing Bingling Temple, Tianshui McKee, Wanxi Gorge in Yixian County, Liaoning Province, and Gongxian Grottoes Temple in Henan Province. There are also many statues and single stone statues.
Around 540 AD, the Northern Wei Dynasty was divided into the Eastern Wei Dynasty and the Western Wei Dynasty. Buddhist temples, grottoes and statues are still under construction. Especially after the Northern Qi Dynasty seized the power of the Eastern Wei Dynasty, the large-scale grotto buildings in Xiangtangshan, Hebei Province and Tianlong Mountain, Taiyuan, Shanxi Province were restored. A number of grottoes excavated in the Northern Qi Dynasty became pioneers of the Sui grottoes. The Northern Zhou Dynasty captured the Western Wei regime. After listening to the arguments between Confucianism, Buddhism and Taoism, Emperor Wenyong of the Northern Zhou Dynasty strictly ordered to stop the spread of Buddhism and Taoism and stop the large-scale construction of temples. From 574 to 1577, Buddhism was temporarily contained. Maijishan once preserved some Buddhist relics from the Northern Zhou Dynasty.
Paintings in the Northern Dynasties include murals of Dunhuang Mogao Grottoes and Tianshui Maijishan. In addition, a large number of stone carvings (such as statues, etc. The relief or line carving scattered all over the country can represent the artistic level of painting at that time.
The relief of Binyang Cave in Longmen, Luoyang (AD 5 10-520) is two important works in ancient art. One is the emperor and his attendants, and the other is the queen and her attendants. The composition is complex, the front, back, left and right characters are arranged in response, the relationship is compact and the atmosphere is serious and lively. The front and back levels of characters and clothing coupling are very complicated, and they do not pile up, nor do they emphasize the sense of volume and space.
There are often relief figures on statues in the Northern Wei, Northern Qi and Northern Zhou Dynasties. Some are closer to the Han Dynasty style than Gu Zhuo; Others are representative styles of the late Northern Dynasties. Tomb murals in the first year of Jiande in the Northern Zhou Dynasty (AD 572) were discovered in zhang wan, Xianyang, Shaanxi. Although there is only one female image, it can be compared with the reliefs, cave murals and pottery figurines of the same period, and has the same modeling characteristics: big head, round face, thin neck and slender figure.
The covers of epitaphs in the Northern Wei Dynasty were often covered with floating clouds and jumping monsters. Shallow relief and vivid image are the development of Han art.
The famous line carving work in the Northern Wei Dynasty is the decoration on the "Mao Ning Appreciation Hall" (A.D. 529). The nature of this stone chamber, such as Wushi Temple in Han Dynasty, is the shape of a small stone chamber. On both sides of the main entrance, armed guards: on both sides of Shimen, there are images such as screen curtains and plastic kitchen; On the front of the back wall, there are three groups of images of nobles and waiting women. The actions of nobles and maids are lively and natural. It can be seen that there is a similar connection with the works of the Tang Dynasty in terms of subject matter, content and performance technology.
The above-mentioned works can illustrate the artistic level of painting in the Northern Dynasties (Wei, Qi and Zhou), and show that Dunhuang murals have great consistency with paintings in the Central Plains, painting styles in the Southern and Northern Dynasties, and painting styles of folk and famous artists. Therefore, the development of painting art in this period can be explained by using rich Dunhuang murals and referring to other materials.