| "Stone, the bone of the world, which is not worth in surface, but in inner." Quote from the theory lin quan gao zhi ji which write by Guo Xi in song dynasty. According to above, could put forward the argument of this text: china landscape painting, express certain character and culture such as holy, true, simple, noble, nature, intelligence, firm with the help of express mountain and stone. The intention is to think highly of the spirit and character. The bone reflect this spirit and sustained this character is the stone which hard and simple, modest, intelligent and profound, change unpredictably, kaleidoscopic change. This example is reasonable. Combined three superficial comprehend towards contemporary china landscape could reflect the classic of the argument, in order to remind and inspire the certain phenomenon of the contemporary painting. And take history development as clues to launch the argument.In Jin Song periods bought forward the theory that spirit of landscape painting depend of the bone of the mountain and stone, such as Gu Kaizhi print yuntai mountain , Zong Bing landscape painting preface, and Wang Wei xuhua .From six dynasty to early period of Sui, tang dynasty, from Er Yan to Li Sixun, Wu Daozi take positive attitude towards express the spirit of mountain and stone, the essence of this pursuit is the process of mountains and its spirit arise.At the mature time of the mountain and stone will discuss "six essence", "four character" in "true painting" which were write in style of using pen write by Jing Hao in Wu dynasty. He's practice and theory of painting expanded a new situation of thousand china landscape painting. It affect widely, found the holy spirit of china landscape painting. Affect directly by Jing Hao, Guan Tong, Li Cheng, Fan Kuan and their works all emerged the lofty and solemn of spirit of mountain and stone.For varies of reasons, the spirit of china landscape goes to mediocre. In north and south song period, an in the mean while it feed back the mediocre thought which circulate and rebirth in the society. This history background sets of the noble character of landscape painting. The above-mentioned history condition fostered the low-condition, but china landscape painting still existing high standard theory and works, for example, theory of linquangaozhiji written by Guo Xi and landscape painting painted by Li Tang, all could show the cherish atmosphere in this mediocre situation.In Yuan dynasty, china landscape painting full of soft style, enrich the culture spirit. But this style could not compare with the lofty beauty after all. The decrease of ethos decrease accelerate the decline of spirit, in this keen competition and conservative circumstances, china landscape painting is on the brink of death.In the late of Qing dynasty, through the change of the big turbulence, numerous intellectual called the race sense of right, spirit of landscape through thousands of years, surge ahead in new sense again. List Huang Binhong, Fu Baoshi, Li Keran, and contemporary painter Jia Youfu, BaiYunxiang, reappear new-born power of the landscape spirit.The conclution quote the appreciation of Confucius to innuendo the theory that the character of mountain and stone which esquire values. Complete the demonstration that mountain and stone is the inner spirit of Chinese landscapc painting.Postscript quote a story that mountain and stone that suffer calamities to illustrate the essence of china landscape-that express the mountain and stone that one must experience all kinds of hardships, and determine his mind to learn the essence of the mountain and stone. |
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