Keywords: Song and Yuan landscape; Ecological beauty; * * * The beauty of life; The beauty of the whole life
Song and Yuan Dynasties is the peak of traditional painting in China, and depicting natural feelings is one of the important themes of Chinese painting. Since the Song Dynasty, China's landscape paintings have gradually matured, and have embodied extremely profound cultural and spiritual connotations and philosophical connotations. China people integrate with nature through the description of natural landscape. Art, as the product of "harmony between heaven and earth", is the first reflection of the harmony between heaven and earth and the epitome of the vast and harmonious life of the universe. The author expressed his life ideal through his artistic works, thus forming a growing ecological text of landscape painting. In this ecological text, there is a kind of natural neutralization, a kind of natural neutralization and a kind of overall neutralization between natural landscape, man and nature, art and life, among which Confucianism, Taoism and Zen are also developing in a coupled way, forming an ecological harmony, which deeply affects the unique ecological aesthetic significance of landscape paintings in Song and Yuan Dynasties.
First, the background of landscape painting in Song and Yuan Dynasties
As early as the Eastern Jin Dynasty, the earliest landscape painting appeared in the famous calligrapher Gu Kaizhi's Painting Yuntai Mountain. The article writes: "The mountain has a face and a shadow on its back, which can make the clouds clear in the west and spit in the east ... Go to the mountain in the west, and don't specify its distance ..." These words reflect the unique features of the landscape. Later, the painter Zong Bing expounded the relationship between landscape and Taoism in Preface to Landscape Painting, which also laid a certain theoretical foundation for China's landscape painting, thus affecting the trend and characteristics of later landscape painting. Later, Wang Wei's landscape painting theory work "Description of Painting" pointed out that traditional landscape painting is not a geographical painting method, but to further express the true feelings of literati painters. With the emergence of these systematic theories, the creation of ancient China literati painters began to deepen gradually, and they began to pay attention to the internal performance effect of landscape painting. Since the Song Dynasty, traditional landscape painting has reached its peak. At this stage, bureaucrats and royal nobles began to pay attention to and indulge in the creation of landscape paintings. Traditional landscape paintings can be seen almost everywhere in palaces and aristocratic halls, and some small-scale landscape paintings appear on desks and at home. With the improvement of productivity and the continuous development of economy, people pay more and more attention to and love culture and art. In order to experience the beauty of all things in nature, many people often put themselves into nature to experience the beauty of nature and the spirituality of all things, and created a large number of exquisite landscape paintings for this purpose, thus opening the most prosperous period of landscape painting in Song Dynasty.
Second, the ecological beauty of landscape in Song and Yuan Dynasties
The landscape paintings in Song and Yuan Dynasties are filled with infinite ecological beauty. Mountains, flowers, birds and trees all present vivid, virtual and real ecological landscapes in the painter's second stroke, and landscape painting constitutes a vibrant ecological landscape painting. China's traditional ecological landscape works have been adhering to the creative principle of "learning from nature", wandering between heaven and earth, savoring the beauty of the natural world, pinning the creator's inner feelings on the landscape, and creating a large number of excellent landscape paintings.
Due to the differences in topography and climatic conditions between the north and the south, landscape paintings reflect different ecological intentions: in the landscape scene in the north, there are many mountains and boulders, hanging waterfalls and cliffs. In artistic creation and landscape painting, the stone water chestnut is distinct, the trees are brown and towering, the mountains are undulating, and the brushwork is strong and powerful. As Guo described in Lin Gao Quan Zhi, "the mountains in the northwest are more vigorous, and the world is not northwest." The land in the northwest is extremely high, and the water source is buried in the bloated land of Ganglong, so its land is thick, the water depth is deep, and the mountains are piled up for thousands of miles. Qiu Jie has one, but he is a leader in the field of four prizes. For example, if there are few rooms in Songshan, they will not be pulled out. For example, if there are fewer kinds of people, they will be fresh. Even if they are steep, there will be more underground than on the ground. "It can be seen that the humanistic characteristics of mountains and rivers in the north generally give people a majestic, spectacular, rough and fierce ecological beauty. However, the scenery in the south has different styles. The mountains and rivers in the south are covered with green peaks, the fog is in full bloom, and the rivers are revived. The pen in the painting is gentle and meticulous, and the lines are gentle and hazy. From the meaning of landscape painting, it highlights innocence and indifference, tranquility and far-reaching, grace and harmony. As the founder of the Southern Landscape Painting School, Dong Yuan's works mainly describe the scenery in the south of the Yangtze River. In his work Xiaoxiang Map, the mountains are gentle and undulating, the trees at the foot of the mountain are sparse, lush and quiet. The whole painting is fresh and beautiful, elegant and harmonious, which is a typical Jiangnan scene. Therefore, the landscape works in the south give people a simple and innocent, gentle and beautiful ecological beauty. North and South landscape paintings have formed deep-seated opposing beauty in aesthetic characteristics and appearance, and further constituted the beauty of ecological neutrality.
Third, the beauty of life in which man and nature live in harmony.
Most famous artists in Song Dynasty lived in seclusion in the mountains, which also had a far-reaching impact on their painting creation. Because artists are committed to the creation of traditional landscape paintings, landscape paintings in Song Dynasty have made great development and historic achievements, and then formed the harmonious beauty between man and nature.
Throughout the landscape painting in Song Dynasty, there are extremely rich contents and connotations, but the characters are often not dominant or do not appear at all in the painting. This does not mean that people are just foil in the creation of landscape painting, but further express the aesthetic situation of harmonious coexistence between man and all things in nature. This is not a deliberate expression of nature or humanity, but "heaven and earth are natural and made by doing nothing." (Three Kingdoms Zhi Wei? Wang Bi: "Lao Tzu's Note? In this period, as a part of nature, man should respect and fear nature, make the spirit of man and nature harmonious and unified, and promote the development of man and nature, and finally achieve the aesthetic environment of harmony between man and nature. In artistic creation, man and nature are not the opposition between subject and object, but a neutral development. In the Taoist view of "the unity of man and nature", man and nature are integrated, and when he is integrated into all things in nature, he also returns to his original heart. Mi Youren said, "You said the painting, and you thought the painting. ".In the artistic creation of literati, man and nature are not antagonistic, but closely related to nature. Therefore, in the process of artistic creation, it is not man's control over nature, but the process of blending nature and life. Artists in Song Dynasty emphasized that "nature comes from foreign teachers". In the process of artistic creation, they pay close attention to appreciate all things in nature, grasp the subtle features of mountains and rivers, express their true feelings skillfully and directly, and finally reach the artistic realm of "Nature comes from China", thus realizing the realm of harmonious coexistence between man and nature. This is not only a true portrayal of the artist's heart, but also a clever way for the appreciator to have a * * * sound with the artist when appreciating the works of art. This is a kind of neutralization of nature, which embodies the vividness of painting in this ecological neutralization. Therefore, in the Song Dynasty, people regarded "divine work" as the highest requirement of creation, and the vivid work here is a beautiful whole composed of man and nature. For example, The Journey to the West, created by Fan Kuan, a famous landscape painter in Song Dynasty, adopts panoramic composition, with sky above and ground below and trees scattered in layers. From the outside, towering peaks, cascading waterfalls, hills and pavilions, and looming streams are all vividly depicted in Fan Kuan's works. These poems not only express the beauty of mountains and rivers that the author appreciates, but also express the emotional implication of the author. Everything in this world coincides with the Confucian thought of "ceremony", which embodies the Confucian ethical principles. On the surface, this painting seems to depict the natural scenery in Guanshan area, but we have never found anything similar to it in the local area. It can be seen that this is Fan Kuan's summary and refinement of landscape images in this area. In fact, this is also the concentration of nature in the author's mind. The whole work shows the profound realm of landscape painting in Song Dynasty, shows the beauty between mountains and rivers, reflects the life situation between man and nature, and forms the most aesthetic ecological artistic conception. Fourth, the overall beauty of art life and the "vivid charm" of life.
Traditional landscape painting in Song Dynasty has profound artistic conception. In painting, ecological art works that are in harmony with the rhythm of life are often expressed through techniques such as rigidity, movement, distance and reality, thus showing the beauty of natural whole life reflected by the integration of human life and natural ecology.
The first standard of China's painting is "vivid charm", which is the embodiment of this natural ecological aesthetic wisdom in landscape painting creation. As Mr. Zeng Fanren said: "The important aesthetic principle of" vivid charm "in Chinese painting is to depict nature as a living spiritual thing." At this time, the works of art are not the independent embodiment of life, but the full meaning of natural life. In the overall view of natural life, human life is integrated into natural life, and human life has also evolved and sublimated. In ecological aesthetic art works, the author pursues the overall harmonious beauty of natural life, and the artist regards landscape nature as a great life. Everything in life is interrelated and needs each other, forming an organic whole of life. Guo said in Lin Gao Quan Zhi: "Mountains take water as blood, vegetation as hair, and clouds as color. So the mountains are full of water, lush vegetation and beautiful clouds. Water takes mountains as its surface, pavilions as its eyebrows and fishing as its soul. So the water is charming in the mountains, bright in the pavilion and desolate in the fishing. " Mountains, rivers, vegetation and clouds are all part of the whole life of all things in nature. In the whole life of everything, all parts live in harmony and glow with different vitality.
In a word, landscape painting in Song and Yuan Dynasties is art, but it is also life. Landscape painting in Song and Yuan Dynasties connects people with nature and art, and expresses the beauty of all things in nature by artistic means, expressing the artist's perception and pursuit of life. In the theory of Chinese painting, painting is not only a poetic expression of the physiological thought of harmony between man and nature, but also a part of the harmonious life system of the universe. The artist takes neutralization as beauty and devotes himself to expressing the vastness and harmony of life in the universe. There is also a strong ecological consciousness in composition and pen and ink form. While living in harmony with nature, people perceive everything, feel life, indulge in mountains and rivers and express people's reverence for natural life. At the same time, it also makes people feel nostalgic about mountains and rivers, experience the taste of life, break through the boundaries of time and space, and truly achieve the integration of man and nature. Only in this way can the creation of landscape painting surpass the aesthetic imagination of human beings and reach a new artistic realm of harmony with nature. So that man and nature can live in harmony, and the overall ecological aesthetic realm of art and life can be preserved.
In the landscape field of Song and Yuan Dynasties, landscape painters took Confucianism as their orthodoxy, but at the same time they combined Taoism and Zen. People feel the great power that makes the soul deep, silent and infinite, just like Ni Yunlin's mountains and rivers, mountains and valleys, which are simple and indeed the deepest and heaviest shapes of nature. Even if the heavens and the earth are destroyed, the mountains and rivers will not be destroyed, which is the eternity of ecology. There is a way home between mountains and rivers. In today's society, if people want to rebuild the aesthetic tradition, they must return to the wonderful artistic conception in China's classical landscape aesthetics. China people look at the mountains and water, in fact, they are also looking at our own lives. The nature in the mountains and rivers is charming and an eternal spiritual home left by the ancients. Today, people still yearn for mountains and rivers. I will walk until the river blocks my way, and then sit there and watch the rising clouds. Therefore, the neutralization charm of subject and object contained in the landscape of Song and Yuan Dynasties is particularly profound, and the cultural charm of China displayed is also particularly profound.
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