Brief introduction Xia Gui, Zi Yuyu, a famous painter in the Southern Song Dynasty, was born in Qiantang (now Hangzhou, Zhejiang) and once worked in the Painting Academy. He began to learn to draw figures, and later attacked landscape painting, chopping with a bald pen with water as a big axe, and improved the ink painting technique to the effect of "dripping vitality and ink attacking people". Leaves have pens, pavilions don't need rulers, and the characters in the scene are clusters and lifelike. The composition is often half-sided, focused, spacious, with prominent close-ups, light prospects and unique style. It is called "Xia Banbian", which later generations think is a portrayal of local public security in the Southern Song Dynasty. Xia Gui's painting method is somewhat influenced by Zen Buddhism: "advocating detachment from reality and understanding nature", and tends to be concise and profound, retaining the form and taking the spirit. Draw snow scenes and learn from Fan Kuan. Later generations called him and Ma Yuan "Ma Xia", and Li Tang and Liu Songnian "the four masters of the Southern Song Dynasty". Handed down works include: the volume of the Western Hills Qingyuan Map and the axis of the West Lake Liuchuan Map, all of which are included in the 300 Famous Paintings of the Forbidden City; The haze map of Yao Cen is now in the Palace Museum.

His personal works include the Map of Qingyuan in Jiangshan and the Map of Wan Li in the Yangtze River.

His works include Endless Paintings of Western Hills, Wonders of Western Hills, Beautiful Scenes of Mountains and Rivers, etc.

There are also snow mountain maps, Song Ya Hakka maps and Xishan Qingyuan maps.

"The Map of Western Hills Clearing the Source" is a masterpiece handed down by Xia Gui. The paper is long and dark, 46.5cm long and 889.438+0cm wide. The picture depicts the scenery on both sides of the rivers and lakes in the south of the Yangtze River on a sunny day: peaks, cliffs, Maolin, pavilions, long bridges, cottages, Mao Ting, fishing boats and far sails. Although the pen is simple, it looks real. The outline of the rock is outlined with a bald pen center, which is dignified and smooth. Conveniently chop with a big axe and a small axe on the side, occasionally scrape with iron, nail the head and tail of the mouse, etc. , and added some points. Although the pen is simple and changeable. Xia Gui is good at using the change of ink color. In addition to the usual "ink accumulation method" of adding ink layer and dyeing, he often uses the "dip ink method", that is, dip the pen tip in light ink first, then dip it in thick ink and cut it in turn. Ink color changes from thick to light, from wet to dry, and it changes a lot. Coupled with the "ink-breaking method", ink is broken with water, ink is broken with water, concentration is broken with light, and light is broken with concentration, making ink light, smart and fresh. The ethereal composition, simple pen and elegant ink color create a clean and spacious lake and mountains.

Painting Style The Southern Song Dynasty is famous for painting "Cape Scenery", and Ma Yuan and Xia Gui. Corner landscape architecture is characterized by few subject images, concise and refined pictures, large blank space, and the method of "counting white as black", which effectively uses corners to echo each other, maintains a sense of balance on the diagonal, and has a strong contrast between reality and reality. When refining the scenery, it strives to be less vigorous and set off the artistic conception with less scenery, instead of directly "painting" the artistic conception with the scenery.

In composition, Xia Gui is better at cutting and beautifying natural scenery and painting "corner scenes". It is his new creation to make long scrolls with generalized pen and ink, realistic objects, ingenious structure and bold cutting. From his twelve long scrolls (today, there are only four paragraphs: Writing geese in the distant mountains, Returning to the ferry in a smoky village, Quietly fishing flute, and Sleeping at Night), we can fully see his achievements. After writing this volume, the Ming people said: "The pen and ink are ancient, the ink color is bright and moist, the smoke is like rain, and the trees and stones are deep and bright." He combined the painting skills of Li Tang, Fan Kuan and Mi Fei, using old brushwork and watertight ink. He is used to dragging his feet, and his painting style is roughly the same as that of Ma Yuan. He used to be a trusting hand in the pavilion on the balcony. With a wave of his hand, he was abrupt and strange, with high charm. Xia Gui is good at ink, and he is good at chopping with bald pen water as a big axe. He is called "dragging his feet" and "dripping water is vigorous, and the ink is attacking people". In terms of subject matter, Xia Guiduo painted the Yangtze River, Qiantang River and other water towns in the south of the Yangtze River and the scenery of the West Lake, and also liked to paint snow scenes and stormy weather.

Xia Gui's brushwork is concise and far-reaching, which should conform to the pursuit of "simplicity and innocence" in literati painting. Dong Qichang founded the painting theory of "Southern and Northern Schools". To put it simply, he advocates "literati painting" and despises "painter painting". Advocate frankness and oppose realism; Pay attention to the interest of pen and ink, and despise painting skills. In fact, these two schools are formed by different painting concepts. It is inevitable that Dong Qichang named them "Southern School" and "Northern School" because of their regional tendency. We can't dismiss Ma Xia as a "painter" just because it comes from the Academy of Painting. Although there is a dispute between "painter's painting" and "scholar's painting" in history, they have always influenced each other and learned from each other. As a model of literati painting, Yuan Sijia obviously inherited the painting style of the Southern Song Dynasty painting school. If Ma Yuan's description of fine figures and pavilions is still too gorgeous, then Xia Gui's extremely simple description should not contradict the core of Dong Qichang's painting theory-Zen's thought of "getting rid of reality and understanding nature". Later generations called Xia Gui "Xia Banbian", but the map of Xishan Qingyuan was obviously a panoramic view, and the original map had no seal. Perhaps it is limited by the concept of "half the sky", so the vast scenery of the rivers and lakes was inscribed as "Xishan" by later generations.

In the composition of "personal influence", Ma Yuan deliberately put the close-up in front of the viewer, and the painted characters have clear facial features and vivid gestures, while the pavilions are depicted in a "boundary painting" way, while Xia Gui puts the scenery far away from the viewer, and the faces of the characters are only painted with clothes and dots, while the pavilions are sketched casually, with simple pens and beautiful shapes. This influence continued until the Yuan Dynasty: the close-up figures in Wang Meng's paintings were fine and vivid in their clothes, facial features and manners; There are almost no people in Ni Zan's paintings, but the characters in Huang He Zhenwu's paintings are obviously painted by Xia Gui, and the picture is empty, which obviously inherits the short-lived legacy of Xia Gui.

Comment on Xia Gui: "People in the courtyard paint landscapes, and there is no one like Li Tang." He is one of the four great masters in the Southern Song Dynasty.

Lv Wang praised in Ming Dynasty: "Coarse but not vulgar, fine but not flattering. There is a profound charm, clear and extraordinary, and there is no contempt for darkness and morning. " Dong Qichang was biased against the landscape of the Northern School, but he was deeply impressed by Xia Gui: Xia Gui learned from Li Tang and was simple, just like the so-called plastic knife. Xia Gui's paintings are somewhat influenced by Zen Buddhism, and he advocates "separating reality from emptiness and understanding nature". Tend to be concise, and take the spirit away from the appearance.

Appreciation of the Works of Song Xia Gui's Flowing Qin Tu Collected in Beijing Palace Museum

When Xia Gui creates landscape paintings, he is good at expressing elegant and beautiful scenery with Jiao Mo's brushwork, laying out landscapes in a horizontal way similar to focus perspective, and using blank space in a large area to describe the ethereal nature of distant mountains and the other side in the blank very simply, forming a beautiful and elegant ethereal charm. Playing the piano by the stream shows the shape of a noble person playing the piano under an ancient tree by the stream. The brushwork is vigorous and the ink is dripping, just like the sound of playing the piano.

Song Xiagui's Silk Book of Hakka Dialect in Tang Xue is 28.2 cm in vertical direction and 429.5 cm in horizontal direction. It is collected in the Palace Museum in Beijing.

This painting depicts the snow scene in the south of the Yangtze River with vigorous brushwork, chopping stones with a small axe and throwing straight lines, achieving a stiff and steep artistic effect, and the pen and ink are light and moist. When Xia Gui painted tree trunks and leaves, he sketched freely with a pen, and his brushwork was lively. People and pavilions are not as neat and meticulous as Ma Yuan, but hand-painted. It can be seen that Xia Gui's pen is rigid and tends to be implicit, which is obvious in this work. The whole painting is elegant in color, tortuous in composition and properly arranged in density and distance, which is the representative work of Xia Gui's landscape painting.

Song Xiagui's silk-screen ink painting is 25 cm long and 26. 1 cm wide. It is collected in the Palace Museum in Beijing.

Xia Gui's paintings are good at bold cutting with generalized pen and ink, creating a unique ink and wash art style. This is a round fan, originally it was a ten thousand fan. Draw a smoky mountain on the upper left, misty and quiet. On the lower left are trees and rocks, and then there are two huts. There is a wooden bridge on the mountain stream, and one person bends down to guide the staff. This painting has sharp rocks, concise trees and unique composition. It focuses the painted object on the lower left of the picture, which is also the embodiment of "Xia Banbian".