Yang Yun
Gu Kaizhi (AD 346-407) grew up in Kang and grew up in Hutou. Wuxi people, Jinling people. Outstanding figure painter in the Eastern Jin Dynasty. His ancestors were officials of the Jin Dynasty and scholars. Gu Kaizhi read widely since he was a child and showed his talents. He is good at poetry and songs, calligraphy, and especially painting. He is a talented artist and became famous when he was a teenager. Later, Gu Kaizhi had three unique skills: talent, painting and infatuation. "Talented" means that Gu Kaizhi is intelligent and versatile; "Fine painting" means that Gu Kaizhi is good at painting; "Madness" is the spirit of Gu Kaizhi's commitment to artistic research.
Gu Kaizhi's outstanding achievement is that his figure paintings are vivid and vivid with daily life as the theme. The brushwork is like silkworms spinning silk, with both form and spirit. His paintings inherited and developed the fine tradition of ancient realism, broke the previous atmosphere of paying attention to religious themes, and became the most precious heritage in the art treasure house of the great motherland. Most of his masterpieces have been lost, and now there are manuscripts of scrolls such as "The Goddess of Luo" and "The True Picture of Nvshi", which are regarded as treasures by generations.
Luo Shen Fu is a large silk book with the theme of the famous poem Luo Shen Fu by Cao Zhi, a great poet of Cao Wei. Cao Zhi is the second son of Cao Cao. When Cao Cao and his younger brother Xelloss defeated Yuan Shao with Cao Cao, they got Zhen Shi women. Cao Cao loves Zhen Shi, but Cao Cao betrothed Zhen Shi to Xelloss. Once Cao Zhi went to court in Beijing and was very sad to learn that Zhen Shiyin died of depression. When he passed through Luoshui on his way home, his nostalgia for the real stone was aroused. Recalling Song Yu's fairy tales, he wrote a narrative poem named Ganzhen Fu, which was later renamed Luoshen Fu by Wei Mingdi. On Cao Zhi's Sentiment about Love Life in Fu. This is a very famous poem in China's classical literature. Gu Kaizhi took this as the theme and painted a Luo Shen Fu.
The general idea of this picture is that Cao Zhi and his servants have walked a long way on their way home. People are exhausted, people are stretching and horses are rolling on the ground. At dusk, stop at the waterinfo. Cao Zhi saw the beautiful goddess Luo in a trance. He and Luo Shen exchanged gifts, boarded the cloud car and talked about their feelings. After Luoshen left, only Cao Zhi, who was annoyed and yearning, sat on a canoe, facing two candle sticks, stayed up all night, and floated on Luoshui and refused to leave. Back to the shore, Cao Zhi got into a four-horse carriage with a depressed expression and endless attachment, and returned to his fief in frustration.
The Fu Tu of Luoshen is a very attractive work. This painting not only shows Cao Zhi's masterpiece "Ode to Luoshen", but also shows the sincere feelings contained in Gu Kaizhi's literary works. In painting, Gu Kaizhi skillfully visualized the poet's fantasy in plastic arts. For example; Luo Shen has appeared on the water many times, clutching his tail, his clothes fluttering, full of movement, euphemistic and calm. She seems to come and go, full of affection, showing an infinite melancholy situation that can only be expected. Cao Zhitou wore a crown, undressed and surrounded by a covered entourage, which was quite a noble poet. The scenery used to set off Luo Shen in the painting has also been visualized, such as the geese and Youlong on the screen; There is also the bright moon in the clouds, the rising sun, and the lotus flowers that are not stained with mud; There are also the legendary Fengshen, the water god who pacified Luoshui, and the singing mother snail. These are all used to describe the sympathetic love experience between Cao Zhi and Zhen Shiyin. It not only strengthens the connection between characters, but also adds the color of myth and dream.
The color illustration "Fu Tu of Luo Shen" in the first volume of "History of China" in junior middle school is a part of the whole picture, which mainly shows the beauty and brilliance of Luo Shen and her close relationship with Cao Zhi. In the picture, Cao Zhi, dressed in a long red dress, is sitting on the edge of Luoshui, with three waiters holding Gong Shan and two waiters holding poems behind him. In the face of the increasingly missing Luo God, Cao Zhi showed great admiration. Luo Shen, with a tall cloud bun and a tail in his hand, looked at Cao Zhi with attachment, as if talking to each other. On the left of the picture, Fengshen is collecting wind.
The Map of Women's History is based on Zhang Hua, a famous writer in the Western Jin Dynasty. Female history is a female official who serves the queen in the court, records the words and deeds of the queen, and formulates the system that concubines should abide by in the court. Proverbs mean exhortation and admonition. At that time, the emperor of the Western Jin Dynasty was incompetent, and the empress Jia played a conspiracy to specialize in state affairs, which caused dissatisfaction among the imperial clan kings. Zhang Hua wrote The Proverbs of Women's History, and wrote the rules and proverbs of the court in the form of verse and the style of women's history. Advise and educate women in the court to follow feudal morality, and preach advice to women who are loyal to the Lord, respect God and obey their husbands. At the same time, he also quoted historical stories to satirize the decadent family. Gu Kaizhi took this article as a painting topic and showed his painting art.
The female history map is 25 cm high and 249.5 cm long. The content is divided into nine paragraphs, and each paragraph draws a story. Because Gu Kaizhi is familiar with the life of aristocratic women. So this picture shows some aspects of the life of ancient aristocratic women in China to some extent. In terms of painting skills, the works accurately depict the identities and characteristics of various characters. Page 125 of the textbook "History of China", the new curriculum standard for grade seven, has a part of a picture of women's history, depicting the life of court women in feudal times. An elegant aristocratic woman in the middle is dressing in front of the mirror, and the maid on the left is combing the bun for the aristocratic woman. The bronze mirror is round and placed on a special frame. There are dressing boxes and circles of different lengths beside the mirror. There is also an aristocratic woman on the right side of the picture, holding a mirror in her left hand and arranging and admiring her bun in her right hand. The whole painting is lifelike and is a masterpiece in the history of ancient painting.