Someone once read Li Zhaodao's "Huang Ming's Running Script" and "Luo Shen Fu Tu", and saw that the landscape of the Li family was in the same strain as that of Gu Kaizhi in technique, which shows that Gu Kaizhi had a far-reaching influence in the history of painting. As a painting aesthetician, he also has a profound understanding of "using the pen in the past" in theory. Gu Kaizhi's outstanding achievements in painting theory occupy an extremely important position in the history of China fine arts.
As one of the seven sons during Jian 'an's visit to Cao Wei in the Three Kingdoms period, The Map of Luo Shenfu was based on the Luo Shenfu written by Cao Zhi in the Three Kingdoms period. The original description is that the poet was frustrated in love and failed to combine with the person he loved. Instead, let yourself meet the beautiful fairy goddess waterinfo in the imaginary space through myths and fables, so as to release your sadness and miss the loss of your lover. This volume well conveys the ideological realm of the original Fu, and we can clearly find the ideas conveyed by the original Fu in the painting.
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Character: Cao Zhi, the third son of Cao Cao, wrote the famous literary work "Ode to Luoshen" and painted it with emotion. Luo Shenfu uses beautiful words and describes emotions, and the love between God and people is touching. Gu Kaizhi was greatly moved after reading it, so he concentrated his attention and became the "Goddess of Luo". As soon as this volume came out, no one dared to draw this picture again, so it became the most influential masterpiece in the history of China for thousands of years. Cao Zhi and his entourage in the painting stared at the shore of Luoshui, as if they had seen the long-lost Luoshen. Luo Shen, who came from Ling Bo in the distance, was elegantly dressed, dynamic, euphemistic and calm, with his eyes fixed, showing concern and hesitation. The yearning of two people is touching. The whole picture is bright in color, accurate and smooth in lines, full of dynamic and poetic beauty. Unfolding the picture scroll, I saw Cao Zhi's expression standing on the shore stagnate, and a pair of autumn waters looked at Luoshen on the distant water waves, infatuated with yearning. Wearing a high cloud bun and a belt raised by the wind, Luo Shen on the water wave has a feeling of falling from the sky. She wanted to go and stay, and she looked around to show her admiration. After the first time, the painter arranged for Luo Shen and Cao Zhi to meet again and again in the whole picture, which lasted for a long time. In the end, the sentimental Luo Shen drove the six dragons and sped away in the clouds, leaving Cao Zhi on the shore, thinking all day, and finally reluctantly leaving. Among them, the deep feeling before crying and laughing and wanting to stop is the most touching.
Form and spirit: it is not difficult to understand the slim and elegant beauty of the characters in the painting, and the affectionate description of Luo Shen is exquisite and vivid. Its shape is also stunning and graceful, like Youlong. The paper is pleasing to the eye, short and pithy. If the shoulders are cut, the waist is similar, the neck is beautiful, the quality is foggy, the clothes are extraordinary and the bones are picturesque. Cao Zijian is walking on the shore, surrounded by attendants. Not only is his vivid expression in sharp contrast with everyone's dull face, but his figure is also obviously taller and more conspicuous than others. This treatment has nothing to do with the so-called proportional relationship and perspective principle in real life. He is an artistic law formed under the traditional mindset and appreciation habit.
Landscape: The eight words "Water cannot be flooded, and people are bigger than mountains" have been completely proved in Gu Kaizhi's Ode to the Goddess of Luo: the proportional relationship between people and background is unbalanced, and the close-up view is inseparable from the long-term view. Mountains are like hills and rivers are like streams. As for trees, they can only draw fan-shaped outlines, and their painting skills are particularly naive. This situation of China's painting history was quite common in the Gu Kaizhi era, and it was not really changed until after the Sui and Tang Dynasties. Gu Kaizhi's coloring of the sketches of the characters in The Ode to Luoshen means that Sagittarius characters have the artistic conditions to become independent painting subjects. Composition skills of "Ode to Luoshen": The picture is vivid and touching, and it is a classic in the history of China painting. Gu Kaizhi deserves to be the first person to make a name for himself in the history of painting. His temperament is quite naive, kind, funny and generous, and Gu Kaizhi is also very good at figures.
Color: From the colorful descriptions of human body moire and water ripple in the Fu Tu of Luoshen, it can also be clearly seen that as a literati painter, the lines with a sense of movement in Gu Kaizhi's figure paintings are particularly delicate, smooth and delicate if compared with the works composed by some folk artists with Albizia Albizia (such as flying sculptures in Bingling Temple Grottoes in Western Qin). One of the top ten famous paintings handed down from ancient times in China, the original volume "Ode to the Goddess of Luo" was painted by Gu Kaizhi, a famous painter in the Eastern Jin Dynasty, and it can be called a masterpiece handed down from ancient times in Gu Kaizhi. This copy of the Song Dynasty embodies Gu Kaizhi's artistic features to some extent. The whole volume is divided into three parts, which clearly depicts the sincere and innocent love story between Cao Zhi and Luo Shen. Gu Kaizhi's "Fu Tu of Luoshen" shows a high degree of artistic imagination and poetically expresses the artistic conception of the original. The color of this painting is dignified and simple, with the characteristics of meticulous and heavy color painting. As a foil, the landscape trees and stones are all outlined by lines, without rubbings, simple and complex, with orderly arrangement of space and density, which conforms to the era style of "there are more people than mountains, and water cannot be flooded" recorded in the history of painting.