The Picture of Wanhe and Song Feng is a silk landscape painting created by Li Tang, a painter in the Song Dynasty. Now it is collected in the National Palace Museum in Taipei. In the picture, the peaks are towering and the rocks are rugged. There are waterfalls and springs between the cliffs, and white clouds float around the mountainside. Quiet cliffs and valleys in the deep mountains, rushing springs and lush pine forests set off peaks and dangerous rocks. In composition, bold tailoring, Excellence. On the whole, it has a strong three-dimensional sense and distinct layers. The two peaks are staggered, tall and straight, heavy and clumsy, giving people a magnificent feeling, which is manifested in the realm of "loose wind". The Picture of Wanhe and Song Feng initiated the expression of concise painting and played a pioneering role in landscape painting in the early Southern Song Dynasty. Together with Guo's Picture of Early Spring and Fan Kuan's Travel Notes on the Western Hills, it is called "Three Great Paintings in Song Dynasty". On the Map of Wanhe and Song Feng, there are towering peaks and rugged rocks, waterfalls and springs between cliffs, and white clouds floating around the mountainside. From the foothills to the peaks, the pine forests are dense and lush. On the left, waterfalls hang down from each other, turning into a beach stream, and the stream passes through the stone. At the foot of the mountain, there are stones and pearls, and the water is rushing, and the majestic gas of nature is coming. In addition, on the far mountain next to the main peak, there is an inscription "Pen Meeting with Yang". Li Tang is a patriotic painter, and his heart is full of patriotic blood. His mind is thinking about the plan to rejuvenate the country, and his emotions are fierce. Therefore, what appears in his works are rigid lines, rapid setbacks and fierce axes, rather than weak lines. In the composition of "Wanhe Song Feng Map", bold cutting and refining are adopted, and the composition method of distant view and highlighting local landscape is adopted to highlight the main peak and create an imminent visual experience. The main peak in the painting is arranged in the center of the picture, accompanied by high and low peaks on the left and right. It is in response to the painting theory that "the main peak should be towering and the guest mountain must go". This is manifested in the strong three-dimensional sense of the work space and distinct levels. The overall picture of Wanhe Song Feng is gloomy, which has the characteristics of "dark as a vertebral monument" in the Northern Song Dynasty. On this basis, it is covered with light ink to make the scenery of the whole mountain harmonious and unified. The leaves are dyed with large dark colors and washed with light ink, which looks dense and gloomy. Among them, the ink color of each stone has a slight transition change, thus forming a three-dimensional sense of if there is no, so when dyeing, ochre is dyed separately, and the ink color is covered. Finally, a thin layer of azurite or azurite is covered, reflecting the texture of stone metal gray. "Wanhe Song Feng Map" adopts the technique of rock cutting, which is Li Tang's skill of combining Li Cheng, Fan Kuan and Guo, and uses various cutting techniques such as main peak, multi-purpose nail cutting and scraping iron cutting to express different rocks; Among the two overlapping peaks, the painter treats them differently: the rock structure near the mountain is oblique, the method is clear, and the handwriting of the axe is clearly visible; The structure of the distant mountain is vertical, horizontal and multi-parallel, and its outline and strokes are more blurred than those of the former mountain, thus widening the spatial distance between the two mountains. The two peaks are staggered, tall and straight, heavy and clumsy, giving people a majestic feeling. In order to express the "boundless pine wind", the painter not only deliberately set up a vigorous pine forest in the middle, but also placed various long pine trees in other positions of the picture, echoing the main pine forest. The difference is that the shapes of these two pine trees are more beautiful, and the painter mainly seeks the beauty of its rhythm through the uneven appearance of pine leaves.
Teacher Wang also has some original ideas. For example, the pine needle in this painting is Pinus massoniana, which is not often seen in the painting. It is characterized by long pine needles distributed on the stem of a pine leaf, giving people a heavy and quaint feeling. This painting has not only the height of thousands of feet flowing down from the left center, but also the gurgling stream drawn in the lower left corner. The waterfall in the right center has become several white chains, which are faintly interspersed among the mountains. Flowing water and steady and solid mountains are integrated and full of vitality. Under the guidance of Mr. Wang, and through the appreciation of the three views of the National Palace Museum in Taipei, we know that Feng Shui prevailed in the Song Dynasty, and the water in the picture often flows from west to east. (Due to the different geographical locations between the East and the West, the southeast and northwest referred to by the ancients in China are just the opposite of what we refer to now. The interpretation that impressed Mr. Wang the most was the close-up pine branch in this painting. Painters in Song Dynasty were loyal to realism, and their habit of observing carefully was evident. For example, pine trees are near, far and small. When the nearby pine trees dry up, sometimes the light shines from the forest, and sometimes the light reflects from the stream stone. A rectangular rock at the bottom of the picture is illuminated by lights, echoing the vigorous and powerful distant mountains. This painting is similar to western light and shadow and perspective.
Today, I invite Wang Lao to briefly introduce the historical background and main works of literati painting in Yuan Dynasty. The three-day exhibition was full of harvest. Although they are all copying, I have learned some ancient paintings and calligraphy works, which has improved my personal horizons and provided some references for my future learning methods and directions.
I think it's also a detour, back to the original point. From Monet's introduction of Ukiyo-e painting to Song painting, history, humanities and philosophy are intertwined, and the whole learning journey is enjoyable.