1、World Outside the Images-Landscape Painting and China Gardens In the last lecture we said that the song dynasty was no longer a name for a dynasty, it has evolved into a very special aesthetic symbol in the history of Chinese art. In the context of that big time, painting aesthetics, garden aestheti
2、cs and other categories of aesthetic spirits and we can say they are the same. Landscape painting and garden construction sharethe same root. Although in the previous course, we have known the origin of Chinese gardens, which is prior to landscape painting. But in the subsequent turn of landscape de
3、velopment, its heyday and even in the course of its maturity. Basically, it is highly coincident with the development of landscape painting, so the history of landscape painting is a very important theory that is the five changes of landscape paintings. 1. The five changes of landscape paintings The
4、 late Eastern Han Dynasty witnessed social unrest, paying attention to scenery and advocating seclusion became the social fashion of this period; landscape poems have been prevalent and the paintings themed in landscaped have occurred. However, the paintings at that time mainly served the Confucian
5、rites and music. The landscape theme is not taken seriously, Zhang Yanyuan in the book History of Famous Paintings. “I have seen all the famous works preserved since the Wei and Jin dynasties. In those landscape paintings, the mountains are like inlaid patterns, hard and dense arrangement. It is eit
6、her unflowing water, or it seems that people are bigger than the mountains. The real meaning of landscape painting changes, began in Wu daozi and the achievement lies in Li Sixun, Li Zhaodao the father and the son.” It shows the development course of Chinese landscape painting from Wei and Jin, sout
7、hern and northern Dynasties to Tang dynasty. What does that mean, It is either unflowing water, or it seems that people are bigger than the mountains. Lets look at Gu Kaizhis painting Luo Shen Fu Tu, Here we can clearly see the stiff relationship between Cao Zhis boat and Luo River. The figures are
8、clearly larger than the mountains. This obviously does not conform to the law of reality. Of course, its not that the painting is bad. But this is exactly a powerful witness to the development of Chinese painting, and “The real meaning of landscape painting changes, began in Wu daozi and the achieve
9、ment lies in Li Sixun, Li Zhaodao the father and the son.” It pointed out that, Wu is Wu Daozi er Li is Li Sixun. The contribution of Li Zhaodao and his son in the development of landscape painting, Si xun and Li Zhaodao started the school of green landscape painting, The drawings of landscape mainl
10、y take stone blue, stone green as pigment, and the drawing style is neat and scenic, which has great decorative effect. Tang dynasty landscape painting began to independent into a family. So what is the five-change saying. It is recorded in the book Yi Yuan Zhi Yan written by Wang Shizhen.First chan
11、ge, Li Sixun and Li Zhaodao, the father and the son, second change, Jing, Guan, Dong and Ju, third change, Li and Fan, fourth change, Liu, Li, Ma and Xia, fifth change, Huang He(Huang Gongwang and Wang Meng), this is the famous five changes theory in Chinese landscape painting history. Li Sixun and
12、Li Zhaodao we have just said to the five northern song dynasty landscape painting. On the basis of inheriting the green landscape painting of Tang dynasty, various styles of landscape painting began to appear, which forms a set of chinese painting hook, chapped, dyed, dotted and other complete ink f
13、orm techniques. Then it appeared Jing Hao, Guan Tong, Dong Yuan, Ju Ran, these four famous painters. Is the representative of the north of the development of Chinese landscape painting has a milestone significance. Jing Hao and Guan Tong are the representative of the north of the development of Chin
14、ese landscape painting, which has a milestone significance. Lets first take a look at the painting the Kuanglu Mountains by Jing Hao. We can see that he no longer has the brilliant color of the green landscape and the picture adopts panoramic composition, grand. This is because Jing Hao lived in the
15、 Taihang mountains for a long time. Through the observation of natural mountain appearance and then the original brush method. We should know, before Jing Hao, Chinese landscape painting has always been Use the ink brush to draw the outline with a uniform line, then render stones with color directly
16、, showing the three-dimensional effect of stone with the different shades of ink. and we can have a look at the green mountains and rivers in the past. It is to be painted flat after the line. Then how to understand brush method then, simply speaking, its friction, using the brush to paint the side
17、peak. Friction with the picture to produce texture so that the mountain has a sense of volume, then derived the landscape with Oriental characteristics of the basic art form. Its recorded in the Bi Fa Ji （Technique of Writing ）: “Once the charm in the work is only reflected in the superficial magnif
18、icence, there will be a lack of expression of the inner spirit, the inner spirit will not exist and the form is meaningless.” From here, we can know it starts stressing on the environment of seeking money and the importance of the condition of image, that is to say, the literati began to pay attenti
19、on to the landscape beyond the figurative form and artistic conception. At this time, landscape painting has become more than just a subject of painting. It is also the spiritual carrier of literati culture. Landscape painting began to have a certain literati painting color and also completed the ph
20、ysical landscape painting theme of Tang dynasty, transformation to metaphysical carrier of literatis feelings. Li Fan has changed again. among them, Li Fan refers to Li Cheng and Fan Kuang in the northern Song dynasty ，they are also the representative figures of landscape painting in the northern So
21、ng dynasty. Landscape painting is a great achievement. Now lets look at this broad Fan Kuangs painting Xi Mountain Travel Drawing. It is a work with a high exit rate in the textbooks of primary and secondary schools. We can see that the picture is also composed in a panoramic way. You can see the im
22、pact of the painting the Kuanglu Mountains on it, a huge mountain facing us takes up two-thirds of the picture. As if the top of Mount Tai gives a shock of the sense of grandeur, a set of waterfalls on the right, three thousand feet length. We can hear the waterfall outside that painting, the whole
23、work gives people a noble and simple, quiet and great feeling. Lets take a closer look at the mountain path at the bottom of the picture. You will find a journey, compared with mountains and rivers and they are so small. So here is the fusion of the song peoples very remarkable view of the unity of
24、man and nature that is that people should respect nature. In the face of nature to leave a humble person is just a traveler in the natural world, so the Song people used the two words Xing Lvr. Now we call it “Lv Xing”. To the middle and late northern Song dynasty, ink landscape began to shine, emph
25、asis on “no likeness but expressiveness” and the benefit of “heavy ink and clear color (In landscape paintings, the use of brushwork and ink is emphasized, while the use of color is not.)”. Ink landscape began to gradually replace the green landscape, which has become the mainstream style of Chinese
26、 landscape painting. Su Shi, Huang Tingjian and Mi Fu these scholars promoted the development of literati painting who were they worshiping. Wang Wei said:“In the painting, Ink painting is the most superior and it is so natural that it is a success.” Its representative is Mi Fu and Mi Youren the fat
27、her and son, the two people created. The Mis landscape panting “The mist that conveniently painted for a short while, but retained natural interest and breath charm.” Liu, Li, Ma and Xia, they are the poets in Southern Song dynasty, Li Tang. Ma Yuan, Xia Kui, Liu Songnian, They set up a new style of
28、 landscape painting. Li Tang was the pioneer of the new style of landscape painting in the Southern Song dynasty. Its painting axe splitting the horse created the southern song courtyard body landscape painting pioneer. And Ma Yuan and Xia Gui gave up the wide panoramic composition of Jin Hao and Fa
29、n Kuang which we mentioned before. Bold use of the corners is to leave a large blank, Know as Ma Yijiao. The middle part of summer brings new artistic conception to Chinese landscape painting, and a new mood came into being. Da Chi and Huang he refer to Huang Gongwang and Wang Meng. Huang Gongwang,
30、his title is Da Chi Dao Ren. Wang Meng , he called himself Huang He Shan Qiao, the two people in the middle and late Yuan dynasty. Through the mountains and rivers to express the sad light in the troubled times, lonely feeling. Then we have finished the five changes of landscape, so lets talk about
31、that. Lets talk about painting into the garden and turning poetry into a garden. 2. Take paintings into the garden and making poetry into the garden The last lecture we have talked about the literati in the Song dynasty. They are compound talents with multiple identities of bureaucrat, scribe and sc
32、holar. Gardens in the eyes of the literati are just a three-dimensional scroll, “just like the painting” has been the Chinese literati diligently pursue the highest level of garden. “Painting of theory” in painting, through this carrier of the owner of the garden very naturally. In the process of bu
33、ilding the garden, the transformation became Theory of gardening . As Yang Shens poem: “When you feel the real beauty of the landscape, the landscape will be like a beautiful landscape painting in your heart, then you will use superb skills to express your feelings and your landscape painting will h
34、ave the beauty of the real landscape.” The layout of the garden, composition, the layout of the garden, the choice of stone, small imaged like plant flowers and trees. The placement of a stone is inspired by the landscape painting theory. In both Tang and Song dynasties, there were a lot of poems de
35、scribing the landscape and the owner of the garden out of the artistic conception of the poetry of the yearning. The poem will be three-dimensional rendering, turning poetic landscape into garden landscape. Finally, the text garden, which is in line with the literary works, came into being, this is
36、why we often say that painting into the garden and poetry for the garden. Next, lets talk specifically about the connection between landscape painting and landscape building. First of all, from the last lecture of the song dynasty aesthetics and just talked about the landscape five changes, we found
37、 that whether it is landscape painting or garden, both experienced the transition from realism to freehand brushwork. At this time, landscape painting and garden aesthetic standards are no longer a simple description of nature. Its whether or not you can express genuine, visceral introspection and i
38、t reflects the mood of peoples spiritual world. Both experienced the transition from view to realization from vision to mind perception. And then it is the composition principle of landscape painting. The impact on the lands cape layout, for example, Wang Wei in the Tang dynasty Landscape rhyme. The
39、 main peak had better stand tall in the picture, and other secondary peaks are the main peak foil which should not be too large. In the book Lin Quan Gao Zhi(Elegant Forest Fountain Falls) by Guo Xi in the northern Song dynasty, The tall and magnificent mountain is very bold, it is the main body of
40、the picture so it is tall. Hills, woods, gullies are the background of this main peak, so the layout of landscape painting must distinguish between the main and secondary picture, with the approach of distance, size will be shown. Both of them show that the composition of landscape painting should b
41、e clear and this painting principle. Its very obvious in Genyue Imperial Gardens case when we look at the plan its very clear that long live mountain. It is the painting theory of the west side of the main peak of Wansong mountain and Wansui mountain opposite to Shou mountain. Then for the picture o
42、f the layout of the hakshan garden formed from the north and southeast three directions. Yan pool and the Dafang pool, this mountain inlaid with water pattern between wild goose pond and natural marsh is the last one. The direct impact on the construction of garden details landscape, which is said i
43、n the book Lin Quan Gao Zhi(Elegant Forest Fountain Falls) by Guo Xi. “In order to show the tall and straight mountains, we should not let the whole picture of the mountains appear in the picture but should paint the mountains in the middle of the fog to highlight its tal body. To depict the long hi
44、story of the river, the river all appear in the picture is certainly not far, but should depict the river between the mountains and the endless.” Its about the relationship between concealment and exposure in landscape painting. And Ji Cheng also mentioned: “In landscape painting, only the part of t
45、he object appears, which will give people the feeling of painting outside the painting, so although it is a near picture, it can show the real landscape thousands of miles of gas.” Although it talked about the way that garden space builds with the words of Guo Xi before it happens to coincide. In ad
46、dition, there are many concepts corresponding to landscape architecture, for example, in landscape painting, It is very important to leave white space in the picture. Is it not the ethereal beauty in the garden? The three-dimensional method in landscape painting,“Falsely and truly complemented”is th
47、e borrowing scene in the garden. The Falsely and truly complemented in landscape painting is the A winding path leading to a secluded spot in the garden. This is a classical Chinese garden. As Mr. Liu Dunzhen said: “in the middle of the Tang dynasty, literati paintings were born and the literati pai
48、nting often build their own gardens under the name of elegance, and integrate poetic and pictorial into the garden.” Lets stop here and see you next time. 象外之 境 山水画与中 国园林 上一讲 我们 讲了 ， 宋 代已 不再是 一个 朝代 的名 称， 它已经 演变 成为 中国 艺术 史中一 个非常特别 的美 学符 号。 在当 时的大 的时 代审 美的 背景 下， 绘画 美学 、 园 林美 学 与其他 门类 的美学精神 我们 可以 说是 一样
49、 的。 山 水画 与园 林营 造更 是同根 同源 。 虽 然从 前面 的课程 我们 知道中国园 林的 起源 早于 山水 画， 但是 随后 的园林 发展 、 转 折、 全盛 乃至 成熟 的 整个历 程基 本上与山水 画发展 高度重 合的 。那讲 到山水 画发展 史， 就是一 个非常 重要理 论， 山水画 五变说。 一、山 水画 史五 变说 东汉末 年， 社会 动荡， 寄情 山水和 崇尚 隐逸 成为 这一 时期的 社会 风尚 ， 山 水诗 开 始流行 ，山水题 材的 绘画 也随 之出 现， 但 当时 的绘 画主 要还 是为儒 家的“礼乐 教化”服务 ， 山水 题材 画并不受重视。 张彦远在 其 历
50、代名画记 中云：“ 魏 晋以降，名迹 在人间者 ， 皆见之矣。 其画山水， 则群 峰之势 ，若 钿饰犀栉 。或 水不容 泛， 或人大于 山 由是 山水 之变，始 于吴、成 于 二李。 ” 这段 话其 实是 学 界研 究中 国山 水画 的重 要 史料， 表明 魏晋 南北朝 至 唐朝 中国 山水 画 的发 展历 程。 那 什么是“或水 不容 泛， 或人 大于山” ， 我们 看顾 恺之 的这 幅 洛 神赋 图 ，我们在 里面 可以 明显 看到 ， 曹植 所乘 坐的 船与 洛河 水之间 的生 硬的 关系 ， 画 中的人 物明 显大于山峰 ， 这明 显不符 合现 实规律 的 ， 当 然这里 并不 是说这
